Category: Progressive Rock

From their album Sign No. 9 (1979).

From the album Wind and Wuthering (1976).

This song is about John Erskine, Earl of Mar and the Jacobite rising of 1715.

from Six Pieces for Orchestra

The City of Prague Philharmonic Orchestra, Paul Englishby

Banks now – beginning with the suite for orchestra called Seven (2004) – does what I have suggested progressive rock should do: he transcends progressive rock. But he does it by simply beginning to write in a different genre altogether, another existing genre. What I suggested, more precisely, was, as it were, rather that progressive rock itself progress beyond progressive rock, i.e., beyond its remaining rock elements, into a new genre that is a further development of progressive rock. But Banks’s orchestral work is interesting in its own right, and although it is not this new genre, it could certainly contribute indirectly to its development.

In Classic FM’s introduction here there is, again, the irritating use of the term “classical”, which seems to be interchangeable with “classic” in this context and is equally misleading. Banks is rightly uncomfortable with it in this interview.

From their album Physical Graffiti (1975).

Live version from the album Yessongs (1973).

From the album Wish You Were Here (1975). Wikipedia

Sublime lower romanticism.

From the album Argus (1973).

From the album Foxtrot (1972).

In this song, Genesis seem partly to rework or develop the common misunderstanding of the story of King Canute on the seashore into an expression of something close to one of their main lyrical themes: the false leader, political or religious, who leads the people astray (cf. The Knife, Supper’s Ready, Dancing with the Moonlit Knight, One for the Vine) – and who is here exposed as such. But the lyrics are ambiguous inasmuch as in the first part some of the original and opposite meaning appears to be retained.

From their album Sommerabend (1976).

From the album A Trick of the Tail (1976).