Abstract
ABSTRACTThe upsurge of academic interest in the genre known as progressive rock has take little account of how discourses surrounding the term were deployed in popular culture in the past, especially within the music press. To address this, we analyze three British weekly music papers of the 1960s and 1970s: Melody Maker, New Musical Express and Sounds. We find relatively little consensus regarding the use and meaning of the term 'progressive' in these papers, though its most common uses are to signify musical quality and to indicate a move away from the 'underground' scene of the late 1960s.
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