LEADER 00000pam  2200337 i 4500 
001    959808453 
003    OCoLC 
005    20170526112526.0 
008    170316s2017    nyua     b    001 0 eng   
010      2017012885 
020    9780393242256|q(hardcover) 
020    0393242250|q(hardcover) 
035    (OCoLC)959808453 
040    DLC|beng|erda|cDLC|dBTCTA|dYDX|dBDX|dOCLCO|dOCLCQ|dOCLCF
       |dIMmBT|dUtOrBLW 
042    pcc 
092    781.6609047|bWEI 
100 1  Weigel, David,|d1981-|eauthor. 
245 14 The show that never ends :|bthe rise and fall of prog rock
       /|cDavid Weigel. 
250    First edition. 
264  1 New York :|bW.W. Norton & Company,|c[2017] 
300    xx, 346 pages :|billustrations ;|c25 cm 
336    text|btxt|2rdacontent 
337    unmediated|bn|2rdamedia 
338    volume|bnc|2rdacarrier 
504    Includes bibliographical references (pages 295-323) and 
       index. 
520    With a vast knowledge of what Rolling Stone has called 
       “the deliciously decadent genre that the punks failed to 
       kill,” access to key people who made the music, and the 
       passion of a true enthusiast, Washington Post national 
       reporter David Weigel tells the story of prog in all its 
       pomp, creativity, and excess.   Weigel explains exactly 
       what was “progressive” about prog rock and how its 
       complexity and experimentalism arose from such precursors 
       as the Beach Boys’ Pet Sounds and the Beatles’ Sgt. 
       Pepper. He traces prog’s popularity from the massive 
       success of Procol Harum’s “Whiter Shade of Pale” and the 
       Moody Blues’ “Nights in White Satin” in 1967. He reveals 
       how prog’s best-selling, epochal albums were made, 
       including The Dark Side of the Moon, Thick as a Brick, and
       Tubular Bells. And he explores the rise of new instruments
       into the prog mix, such as the synthesizer, flute, 
       mellotron, and—famously—the double-neck guitar.   The Show
       That Never Ends is filled with the candid reminiscences of
       prog’s celebrated musicians. It also features memorable 
       portraits of the vital contributions of producers, 
       empresarios, and technicians such as Richard Branson, 
       Brian Eno, Ahmet Ertegun, and Bob Moog.   Ultimately, 
       Weigel defends prog from the enormous derision it has 
       received for a generation, and he reveals the new critical
       respect and popularity it has achieved in its contemporary
       resurgence. 
650  0 Progressive rock music|xHistory and criticism. 
650  0 Rock music|y1971-1980|xHistory and criticism. 
650  0 Rock music|y1961-1970|xHistory and criticism.