Artful academics meet art rock. Much like the music they analyze, Frank Felice and James F. McGrath’s scholarship is virtuosic, complex, and inventive. And also like the artists considered, their multidisciplinary approach, with its attention to music theory, poetics, and theology all at once, blurs genre boundaries. Deserves to be read with 2112––or equivalent, as tastes dictate––playing in the background.

Michael Gilmour, Providence University College (Manitoba)

Progressive Rock, Religion, and Theology weaves a web across the vast fields of its title, providing a roundabout synthesis of scholarship on classic and neo-Prog bands (profiling Yes, Genesis, Emerson, Lake and Palmer, Jethro Tull, Kansas, and Neal Morse). Each chapter forms a prolegomenon to fans, listeners, researchers and scholars, letting the songs cast a light on religious and spiritual quests, provoking further discussion rather than attempting closure. A valuable addition to those studies of popular culture that take the metaphysics of music and musicians seriously, and those readers who think and feel in touch with the spiritual speculations of progressive rock.

Jennifer Rycenga, San Jose State University

This well-researched study offers a fascinating view of selected “classics” of progressive rock and avers that this often-misunderstood genre moved far beyond the quasi-mystical, pseudo-science fiction of the late 1960s into large-scale works that are truly profound. The authors make a convincing case that the connections between prog rock and theology are surprising and strong. A great addition to the growing body of scholarly work on progressive rock, the book focuses on Yes, Genesis, Jethro Tull, Kansas, and Emerson, Lake, and Palmer, as well are more recent music by Rush and the Neal Morse Band.

Christopher Gable, University of North Dakota; author of The Words and Music of Sting and The Words and Music of Sheryl Crow