Too Much Music For One Sentence: Prog Rock vs. The Cars

I just finished the highly entertaining The Show That Never Ends: The Rise and Fall of Prog Rock by David Weigel-- or I found it highly entertaining; it might not be a book for general audiences-- and while the start of the book covers bands that you might know, from Procol Harum to King Crimson to Yes, Genesis, Soft Machine, and-- of course: Emerson, Lake, and Palmer-- you might be surprised by the extent of the cross-pollination within the scene and the extent to which record companies funded and allowed for absolutely wild, bombastic, innovative music to be made and published-- including lots of solo efforts (Yes keyboardist Rick Wakeman made a 40-minute progressive synth rock opera based on Jules Verne's novel Journey to the Center of the Earth? and it was a commercial success?) and then the book moves along to Rush and Marillion and Dream Theater, and finally to the remnants of prog rock-- how the old bands fell apart (or learned how to craft singles like Genesis) and how there are some remnants of prog rock in bands like Porcupine Tree and The Mars Volta-- and the book certainly got me to listen to some "new" music from long ago (or rather recent music, such as Porcupine Tree) but Weigel also details how punk rock and new wave put an end to prog rock as the darling of the critics and ended any radio play that these epic songs were getting . . . and I am also reading The Cars: Let the Stories Be Told by Bill Janovitz and you can see why people were so excited for this new music-- it's tight and catchy and skillful but also forward-facing and progressive, and The Cars first album is a perfect example of this-- 1978 was when prog rock was starting to decline and artists like Blondie and Elvis Costello and The Talking Heads and Devo and The Police released great albums (and there was also a slew of great rock albums: Van Halen, Some Girls, Darkness on the Edge of Town, Dire Straits, Shakedown Street) and while Rush did release "Hemispheres" in 1978, a prog rock classic-- pop music was trending toward shorter songs-- and this was partly fueled by punk rock, which gained popularity in this same time frame . . . "Never Mind the Bollocks" came out in 1977 . . . anyway, I prefer the new wave stuff and what it spawned to most prog rock (although "Close to the Edge" by Yes is a masterpiece) but Weigel's book got me to listen to some pretentious but exciting musical experiments, and it's usually good to open your mind to new music (except when Hitler got really into Wagner).