MR>  =-> Quoting George Erdner to Martin Ridgley, re: "Best" Albums....
MR>  GE> While the chord structures and time signatures are standard, I find
MR>  GE> the slection of instruments very experimental, particular the use of
MR>  GE> accordions. And the lyrical content of some tracks is quite
MR>  GE> adventurous.
MR>    Yup, I can see your point.  But unique instrumentation and lyrics
MR>  alone don't usually determine whether an artist is considered to be
MR>  `progressive'.  The music is the first consideration.
This comes back to my paraphrase of Kris Kristofferson's definition of a
style of music. Since the definition of what is progressive music
describes the MUSIC, discussions of whether an ARTIST is progressive is
meaningless.
MR>  GE> ...that comes back to my first premise that no matter what a song
MR>  GE> sounds like, if it is commercially popular, then the self-annointed
MR>  GE> arbiters of progressiveness will usually automatically reject it.
MR>    No, that's rubbish, George.  You're twisting the facts to suit your
MR>  own theory.
MR>    Progressive music simply doesn't appeal to the broad masses.  It
MR>  doesn't get as much radio air-play and does not sell as well as less
MR>  adventurous, generic music will.  When a `progressive' artist has a
MR>  hit, it is almost always with one of their *least* musically adventurous
MR>  songs.  If they become a big commercial success, they've usually had to
MR>  compromise the experimental side of their music in order to do it.
MR>  That's not necessarily a bad thing - it's just a fact.
But if an artist who is not considered "progressive" records a
progressive song, the self-anointed arbiters of progressiveness will
dismiss it. And I have to disagree about progressive music not selling
well. True, it doesn't get much airplay. But then very, very few albums
ever get more than one or two cuts played on the radio, yet when the
album sells, ALL the cuts on it sell.
It really annoys me to have people dismiss artists who create albums
that are compilations of "progressive" songs that express their artistic
creativity, along with some pop songs to generate airplay and sales.
MR>  GE> I find that too many fans of "progressive" rock seem to go out of
MR>  GE> their way to find obscure recordings that no one else has ever heard
MR>  GE> of to discuss.
MR>    With all due respect, that's B.S., George.  (See above comments.)
MR>  Recordings of progressive music *are* obscure.
No, recordings that are nothing but progressive are rare. Recordings
that include some progressive music alongside the popular crap are far
more common. (see my above comments).
MR>  Unfortunately, it's a relatively small segment that enjoys progressive
MR>  music.  Therefore, it's not widely distributed, which in turn means that
MR>  fans of the genre have no choice but to go out of their way in search of
MR>  it.  Do you see what I'm saying?
MR>     Cheers,
MR>             Martin
MR>            ~~~~~~~~
I see what you're saying, but you seem to be implying that only if a
song comes from an album where every single is purely progressive, and
the artist has "progressive" credentials, can a song be considered as
progressive music.
 * OLX 2.1 TD * Real knowledge is to know the extent of one's ignorance.
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