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 Repetitions of the Old City - I by JACK O' THE CLOCK album cover Studio Album, 2016
4.58 | 8 ratings

Repetitions of the Old City - I
Jack O' The Clock Prog Folk

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

5 stars

JACK 'O THE CLOCK Repetitions of the Old City - I

I really liked 2013's All My Friends but it showed signs of the band not firing on all cylinders yet--not everyone seemed able to rise up to composer Damon Waitkus' expectations. I'm glad to report that, while this is, sadly, only the second Jack O' The Clock album I've listened to, immaturity and scattered energy are no longer at issue: the band is performing Damon's compositions seemlessly, flawlessly, and Damon's composition and production skills are at his most masterful high.

1. "I Am So Glad To Meet You" (1:37) Damon Waitkus singing multiple tracks in his unusual, warbly, ANDY GIBB-like voice over an atmospheric echoscape. (7.5/10)

2. "The Old Man And The Table Saw" (10:30) a refreshing prog folk composition that sounds like no one else, proclaims (or reconfirms) that Jack O' The Clock is unique to folk and progressive rock music. (9/10)

3. "When The Door Opens, It Opens On Everything" (12:08) opens with a very folk/bluegrass-sounding acoustic guitar intro. At 1:15 the music shifts to a kind of AARON COPELAND/EDGAR MEYER sound in support of Daimon's vocal. Kate McLaughlin's bassoon plays a nicely prominent role in this one. Stellar performances by all band members in this mesmerizing composition. I even hear echoes of some of the sounds, melodies, and dueling of John McLaughlin's SHAKTI music ("Get Down and Sruti" from Natural Elements) on this one. (9.5/10)

4. "Epistemology / Even Keel" (5:45) opens sounding far more like an old WEATHER REPORT or JONI MITCHELL soundscape. But then all that dissipates in lieu of Daimon's nursery rhyme-like vocal. Not quite a cappela, it is supported rather sparsely with bird- and animal-like sounds created by acoustic instruments. The second half ("Even Keel"?) uses an electric jazz guitar and acoustic guitar to provide the foundational support for Daimon's voice. Double bass, shrill violin chirping, bassoon and flute provide occasional and intermittent accents and support. I like this song a lot. It's certainly a top three song. (9.5/10)

5. ".22, Or Denny Takes One For The Team" (6:58) opens as if we are getting to unleash a high-speed Celtic reel, but when dulcimer, electric bass and drums enter to support and mirror the established lead melody of the violin, it feels more rock like. At 1:30 everything shifts into a dreamy MARK ISHAM-like section. Violin and cymbal play support the baseball reference section as sung by Daimon and his support chorus. A lot of FLEET FOXES similarities in this middle section. I like it very much. The story here feels very dream-like, as if imagination (and time) is toying with the recollection of some past memory. My favorite song on the album. (10/10)

6. "Videos Of The Dead" (7:21) opens with bass and low tom thumping a slow, straight 2/2 time while the guitar of prog legend Fred Frith slide over and between. While the time signature gradually shifts, and the song develops, it is still fairly sparse and simple when Daimon's simple vocal begins. At 2:50 things become heavier, more insistent as first the low end and then the middle of the soundscape fills a bit. Flute solos in the fourth and fifth minutes while the song shifts and other instruments snake around beneath. When Daimon returns to sing at the end of the fifth minute, a full Nu-grass kind of jam is mounting an assault beneath him. then, suddenly, at the 5:40 mark, order is restored just when I thought (and hoped) that wild chaos was about to break open. Awesome, even amazing song. My other top three song. (9.5/10)

7. "Whiteout" (2:28) a foundation of odd sounds (including synths, zithers, bass clarinet, bowed double bass, and what sounds like a backwards flowing solo electric guitar throughout) supports the slow, treated play of a hammered dulcimer. (9/10)

8. "Fighting The Doughboy" (13:42) starts out with a bit of an odd, gangly plod-and-hop sound that might have come off of a MAHAHIVSHNU ORCHESTRA or JEAN-LUC PONTY rehearsal during the 1970s. By the end of the second minute it's feeling more like a UNIVERS ZERO song. But then lyrics/vocals appear. At 4:30 the song suddenly steps into a straightforward rhythm--but only for about half a minute, when it returns to the syncopated UZed sound, style and pacing. Horns, violin, vibes, and bassoon are all quite prominent. At 6:30 another foray into straightdom provides a section with some interesting background vocal activities and harmonies--and even a lead vocal from a different male (Jason Hoops?). At 8:20 a kind of calypso foundation begins over which SHANKAR-like violin melody leads before a flanged Daimon Waitkus vocal slowly emerges (and continues moving into the foreground--with accompanying vocalists). At 10:30 new section begins with a sound that is reminiscent of some of JONI MITCHELL's jazzy-world music from the mid 1970s. Voice samples from the likes of Martin Luther King, Jr. are interwoven among the Dixieland party that ensues--and plays out to the song's end. Intriguing song! High marks for creative originality. (9/10)

9. "After The Dive" (3:38) a very cool, unusual song with great, delicate performances from all--and a nice vocal from Daimon. (9/10)

A masterpiece of prog folk and progressive rock music. This band is maturing, gelling into one of the most compelling masters of the modern prog scene.


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 8 by TAIPUVA LUOTISUORA album cover Studio Album, 2013
3.89 | 10 ratings

Taipuva Luotisuora Psychedelic/Space Rock

Review by Kingsnake

4 stars Maybe their heaviest album up to date. They really go all the way on this album, incorporating fusion, metal, progrock, spacerock and world music.

The emphasis of Taipuva was and will always be rhythm and athmosphere. The only solos you can expect are synthsolos, on this album there are even more guitarsolos, but again the emphasis is musical interplay. There's even a lot organ on this album. The rhythm changes are unheard of although their album IV has more difficult fusion-like parts, this album also has some really interesting and difficult rhythmparts. More rock/metal than before, but not too much.

The production is better and phatter than before. The songs really build and build and have quite moments, real dynamic sections and heavy explosions. But never losing track, Always great melodies and nice riffing. The band drew influences from bands like Camel, King Crimson, Gong, Ozric Tentacles and on this album even Tool. But the band is really unique in what they do. I can't think of any band that does what they do.

I can really recommend this album to anyone, who wants to hear really skilled musicians going at it.


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 Second Wind Part 1 by LIQUID WOLF album cover Studio Album, 2016
4.00 | 2 ratings

Second Wind Part 1
Liquid Wolf Heavy Prog

Review by Matti
Prog Reviewer

4 stars My initial reception for the 2012 debut album of this Finnish group was very positive; the instrumenally oriented music didn't even sound so much of HEAVY prog to me, who am mostly an anti-heavy music listener. This time around the heavy aspect is slightly more obvious. First, the guitars are often more metallic than before (not radically though), and there seems to be more depressive-sounding vocals (of Teijo Tikkanen, also known from Corey & Maple). The musical project led by composer and guitarist/multi-instrumentalist Sami Sarhamaa (e.g. KATAYA, KUDOS) was said to be primarily inspired by OPETH, but it expanded beyond that influence, and also other kinds of prog were mentioned as references, such as Camel and Kaipa if I remember right. But I guess it's safe to compare this music to Opeth and other similar bands taking progressive steps further away from their metal roots -- as with Opeth's later phaces, there are no growls here, thank God! But yes, the moods are similarily dark and deeply melancholic.

Perhaps to me the least pleasant ingredient, and the one that gives the music its distinctive heavy flavour, is the low-toned and somewhat depressed singing style that underlines dark emotions more than would be necessary. I get no big pleasure out of the heaviest and less complex tracks such as 'Toenails'. What I do enjoy is the way the intrumental sections have more variety, both in dynamics and in instrumentation. For example the opener features elegant marimba, and on 'Pale Rider' there are vibes on the intro. The lively piano heard later on that very dynamic track brings some classical/jazzy nuances.

The longest of the seven tracks is 'Every Mistake' (8:12) that starts delicately with a clock ticking and an acoustic guitar. The excellently produced soundscape features also some mellotron-sounds, and the dynamic growth from mellow, instrumental section (featuring piano) into more intense prog and into the sax/marimba dialogue in the end is very impressive. The six-piece combo features the renowned jazz musician Pepa Päivinen on saxes, flutes and bass-clarinet. On drums is the legendary Sami Kuoppamäki (who rised into fame in Kingston Wall).

'The Utopist' is a rhythmically complex instrumental with gorgeous musicanship, stylistically between RUSH, MAHAVISHNU ORCHESTRA and the galaxy-exploding symphonic prog. The album closer 'Spit It Out' starts in a serene and peaceful mood and grows into powerful, instrumentally oriented prog rock with mighty solos and all. Indeed I'm happy to notice that the more closely I listen to this album, the better it comes, or in other words, the more highlights I hear. I strongly recommend this fine album especially to listeners of melancholic [heavy] prog who appreciate cultivated arrangements and high musical competence.


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 Force Majeure by TANGERINE DREAM album cover Studio Album, 1979
3.98 | 391 ratings

Force Majeure
Tangerine Dream Progressive Electronic

Review by poito

3 stars For a while, this mythic band came out of minimalist math-rhythmic and spacy airs that dominated their production in the 70's and landed in planet Earth, they become human. New instruments, new members, Baumann has left the classic trio, and the new guys seemed to bring fresh air. It must have also spurred on Froese that woke up for a while and got out a bit of the talent they showed in Rubycon and Ricochet. Although there are some excerpts with the characteristic monotonous rhythmic background, the other instruments fly above without limits and add nice riffs, mainstream if you like, but creative and appealing, even catchy. Guitar sections craft excellent tunes, as in the first section of Thru Metamorphic Rocks. This album is a blow of fresh air in the declining trajectory of TG in late 70's.


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 Stranger Heads Prevail by THANK YOU SCIENTIST album cover Studio Album, 2016
3.92 | 66 ratings

Stranger Heads Prevail
Thank You Scientist Crossover Prog

Review by Yeshead1

4 stars This is my first review on this site. I've been reading reviews and getting a lot of good guidance for years, so finally joined! And this couldn't be a better first album for me to review. I actually just ran across TYS from a FB post from The Prog Report listing their top 15 albums of 2016, and this was one of the bands I hadn't heard of. Wow, pretty much from the first few songs I was hooked. Also watched a 35min. or so studio broadcast thing they did that showed how tight and ridiculously talented this band is. They incorporate so many different styles, ideas, and influences-almost too many to list. But if I were to classify them I would call them: Modern Progressive Ska Jazz Fusion Melodic Metal. And that covers about half of it. There's so many elements of Prog that seem to work here like ridiculous musicianship, time signature changes out the wazoo,and intricate instrumental passages mixed with melodic vocals. There are definitely nods to Zappa, Chicago, Steely Dan, Queen, Gentle Giant-and so many Prog giants of the 70s, but thet definitely put a modern edge and twist to it, much like Umphrey's Mcgee. I have listened to this album and their first 3 or 4 times each just in the last few days since I discovered them, so I'll have a lot more to say later, when it all sinks in. But I am so blown away from the originality, uniqueness ,musicianship, songwriting, and most of all take all of their influences, throw em in a pot, and come up with a totally original stew. My favs on this album are: the somnambulist, caverns, Mr. Invisible, and Rube Goldberg Variations but there is not a weak track in my opinion. and as far as the vocals are concerned; I'm getting more comfortable with them with repeated listets. It is not a matter of vocal quality- Sal's got a great voice that is very expressive and intense and fits the music perfectly. The range and timbre just take a little getting used. Love this band so much already. Reminds me when I first discovered Umphrey's.


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 Encore (Live 1977) by TANGERINE DREAM album cover Live, 1977
3.86 | 202 ratings

Encore (Live 1977)
Tangerine Dream Progressive Electronic

Review by poito

2 stars From early 70's experimental noises to the sudden outburst of immortal brilliance in Rubycon and Ricochet, something must have happened and we will never know. The following albums Stratosphere and this Encore marked a slow decline, the muses had gone again and the composition was tired, stiff and lifeless, they were living on the ashes of past glories. This Encore has nothing new, just a few excerpts copied from earlier albums. Probably that's why they returned to the noisy stuff, They had emptied?. Probably it was the success with the music a la carte for movies that make them believe it was enough, if so, they were mistaken, obviously. Music for movies is not to listen, is to watch.


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 Pike 98 - Pilot by BUCKETHEAD album cover Studio Album, 2014
4.00 | 1 ratings

Pike 98 - Pilot
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

— First review of this album —
4 stars BUCKETHEAD - PIKE 98 - PILOT 57th album out of 60 in 2014 and 127th overall All sounds brought to you by Buckethead and all instrumental This one clocks in at 29:14 and has nine tracks All tracks are titled "Pilot"

"Pilot 1" (2:51) begins with a startling electronic buzz followed by funk guitar and then funk bass. The time sigs change it up and it sounds like a 70s p-funk track trying to battle it out with Kraftwerk or something. While the guitar and bass do their funk thang, electronic whizzing and hyperactive drums come into the picture as do strange freaky sounds. The bass changes it up often with different types of funk lines and the guitar and other accoutrements follow suit. The track continues to change things up often in the most avant-garde of ways. Really freaky but mostly funky!

"Pilot 2" (2:59) continues without missing a beat and begins with a water drip and more industrial noises that irregularly march forth with off-kilter time sigs and then a freaky electro-funk synth turns into terrifying and horrific weird noises over an industrial drone sound. Enter the funk once again with dissonant trebly tones and then more weirdness. Random and jarring that wouldn't sound out of place on a Ministry album

"Pilot 3" (3:25) more synth funk for ya with slightly off guitar parts but quickly becomes spooky ambient down tempo with industrial sounds coming at ya randomly but they vanish and are replaced by funky bass and cheesy drum machine. Then they disappear and it becomes spooky ambience again. A subdued guitar joins in with a monotonous strum and then a brash turntable type of scratchy groove. This one is just plain wwweeeiiiiiirrrddd!!!

"Pilot 4" (3:21) begins with a demented piano, keyboards, strange noises that create strange rhythms. Very avant-garde but turns to a more funk style for a while and then a freaky ambient meets tortured guitar part. Picks up a bouncy freaky groove only in full weird zone and then the groove breaks down into proggy time sig frenzy while the bass tries to be funky. It keeps going changing things up often and in a million directions. More wild and totally unpredictable stuff

"Pilot 5" (5:06) has a very strange background while a clean guitar delivers a somewhat normal soft melody and then totally displaced by a funky bass and drums. After the funk struts its stuff for a while it becomes a weird church bell type of ambience briefly and then starts another weird guitar meets industrial synth and changes up dynamics as well as time sig breakdowns occurring. Once again. This one is all over the friggin' map and only gets weirder and wilder creating sounds that i can't even describe really

"Pilot 6" (3:42) at this point there's really no meaningful use for tracks. It is imperceptible as to which track is which and ideas whiz by so quickly that no song structures exist at all although the snippets of ideas are based in a general musical genre but some things are just so experimental that their is no vernacular capable of capturing their weirdness. Funk still alternates with industrial and whatever the whim of the chicken lover has in store

"Pilot 7" (3:07) actually bursts into something new. No, it's still weird and wild but it has dissonant guitar chords with dystopian ambient synthesizers that sound like possessed church organs. It continues changing things up often in totally unforeseen directions and continues to ratchet up the mayhem by making everything ever more alienating and jarring to the ears. Even the guitars and bass are totally in their own world only to join in together briefly in horrifying ways and then back to total musical breakdowns

"Pilot 8" (2:00) is different in that it is soft with a normal clean guitar line and freaky hyper electronica in the background. It also has a sort of funk meets industrial thing going on but changes things up often and steers the instruments in disparate directions

"Pilot 9" (2:43) is exclusively a freaky ambience track that feels more like early Klaus Schulze but a clean guitar finds its way into the lost soul department and creates a detached echoey contribution to the swirling sounds around it. A violin sound joins in and then all ends

Wow! This album is a true trip. It is one of the most wild and unexpected pieces of free style experimental rock there is to be heard. BH has done a few of these and this one is truly one for the most uninhibited musical listeners who love those rides at the amusement park that move in multiple directions while on a roller coaster. You have to be quick to stay on this BH ride or you might lose you lunch and ruin your freshly cleaned clothing. Weird for weird's sake. Wild for wild's most unimaginable journey. This is truly one of the most bizarre slices of avant-garde music ever. No metal on this ride but lots of funk, ambience and even the kitchen sink!


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 Passageways by BUCKETHEAD album cover Studio Album, 2014
3.96 | 7 ratings

Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars BUCKETHEAD - PIKE 97 - PASSAGEWAYS 56th album out of 60 in 2014 and 126th overall All sounds brought to you by Buckethead and all instrumental This one clocks in at 29:05 and has five tracks All tracks are titled "Passageway"

"Passageway 1" (5:24) starts out with a slow dreamy ambience and a clean guitar plucking notes slowly. Bass only joins in reluctantly after the minute mark and no percussion to be heard. A nice dreamy melody slowly unwinds. What? This is one of those super slow and sappy PIKEs. But wait. I'm actually liking this one. The melody is soft and sensual as are the synth and guitar tones. It has sort of an epic soundtrack quality to the whole thing and it isn't ruined by out of place sounding phony drumbeats

"Passageway 2" (2:51) continues unperceptibly with the same background ambience only the guitar ratchets up the intensity a bit and a drum joins in for the uptick in speed but then drops out as it slows down and a lead guitar begins a somewhat Floydian meets Celtic Folk type of mix. Cymbals take over as percussion and all remains soft, sensual and dreamy with an addictive melody whisking my attention away. Full percussion joins in but it is done in a complementary way and works quite well. Love this

"Passageway 3" (6:50) also begins imperceptibly but changes it up with a new clean guitar line with background ambience and shortly picks up speed a little with cymbal action and bass but not too much faster, just slightly. A second guitar joins in and the two parts complement each other well as does a symphonic type of synth part. It picks up speed as the different instruments branch out their melodic parts creating a more harmonic experience. This one might go on a bit too long but it's a rather pleasant blend of melodic developments with varying dynamics

"Passageway 4" (3:44) also begins simply by extending the previous track's flow and then changes it up slightly to technically create a new track. This one is exactly the same in that consists of background ambience, a clean melodic guitar and then picks it up slightly to include a bass and drum. The guitar becomes more bluesy and has that semi-Floydian type of feel without hinting of any direct influence.

"Passageway 5" (10:14) also picks up right where the previous left off only whilst maintaining the guitar line, it picks up a little speed and the drums and bass are a little more pronounced and then becomes heavier than it has been the entire run of the album including electric guitar riffs as well as the solo which picks up a little distortion as well. The bass becomes more accentuated and the percussion is in the legit rock format now. The track continues the basic riff and goes on several more minutes. This is about the time the track starts becoming less interesting but just when i'm ready to give up, the guitar picks up intensity and everything else ratchets up accordingly. It

"Passageways" is the way to make one of this mellow albums good. It successfully ratchets up from a soft, sensual and ambient passage to a full fledged rock workout towards the end with each subsequent track ratcheting up the intensity a little bit more. The melodies are more pleasant than other similar PIKEs and despite this being my least favorite type of style in the PIKE series, this one works perfectly as every element is thoughtfully juxtaposed to the other and the net effect is a very pleasant listening experience. Yay!


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 Yarn by BUCKETHEAD album cover Studio Album, 2014
3.90 | 2 ratings

Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars BUCKETHEAD - PIKE 96 - Yarn 55th album out of 60 in 2014 and 125th overall All sounds brought to you by Buckethead and all instrumental This one clocks in at 30:15 and has three tracks "H.V." (6:29) immediately bursts into grungy heavy alternative style metal with down-tuned guitar and beefy bass with jittery drum patterns. An energetic guitar solo comes soon after and then it slows down a bit and subdues heaviness. The melody is often supplanted by a riff stomp effect that just keeps the beat and is often not even realized until the solos come in play. Solos are usually short and trebly guitar riffs also trade off with the bass side of the equation. The groove is a tad monotonous but hypnotizing and the treble aspects are what keep it from going on too long. Not bad. Nice rhythmic grooves with touches of melodic embellishments are key points. Well constructed and heavy as bleep with some electronica surprises towards the end along with some stellar guitar performances

"Spindle 1" (13:23) begins totally different with a synthesizer creeping in slowly and turning into ambient tones sustaining and then dropping out only to be replaced by a totally heavy metal guitar riff with some electronic effects and processed vocals screams or something. The rhythms are irregular and offer some proggy time sig gymnastics. When the metal totally drops out it exposes the weird ambient electronic atmosphere that exists in the background noise. The track basically contains dreamy types of ambience that become drowned out by intermittent metal outbursts that also include some hyperactive electronic contributions. Once again the guitar performances are top notch. This one also has periods of a bouncy monotonous grooving that last a short duration and then become replaced by the opening riff or some strange avant-garde guitar displays. This one is pretty cool as well. Lots of interesting twists and turns while maintaining accessible riffs and melodies. It doesn't even outstay its welcome because it changes things up enough and has enough recurring elements to give it some sort of continuity at least for BUCKETHEAD. The guitar shredding towards the end is dizzying

"Spindle 2" (10:23) starts with jittery heavy guitar that dances around strangely and then breaks into an energetic solo. The bass is steady as are the drums but the guitar is just plain freaked out like a spooked horse galloping through a parking lot of hissing locusts. Not as melodic as previous track. More frenetic and really frantic. The guitar shredding is just as off the hook and begins much sooner. The frenetic shredding is sometimes suppressed by an electronic industrial type of section but always comes back more feisty than ever with unbelievable finger workouts, wild off-kilter proggy time sigs and more than a taste for the avant-garde. The track keeps chugging along at full speed until the end and my fingers hurt just listening to this one. Whew!

This one i like a lot! Heavy as hell. Feisty and defiant. It's BUCKETHEAD at his most metal magic and even the lengthy tracks don't get old. There is a lot of interesting unexpected surprises and enough recurrence of themes to keep the listener from becoming alienated. Enough progginess to please the headier crowds and enough straight rhythmic drive to bang yer head most of the time. Another decent PIKE


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 Made In Japan by DEEP PURPLE album cover Live, 1972
4.50 | 619 ratings

Made In Japan
Deep Purple Proto-Prog

Review by LadyScarlet

5 stars This is without doubt the best live album made by anyone, and the most worn out LP of mine. Made in Japan shows Deep Purple at their peak, and the album contains many interesting parts. The album starts with the perfect show-opener "Highway Star". It contains of simple and effective riffs, mixed with virtuostic solos, beautiful arpeggios and Ian´s screaming vocals. The Made in Japan version of this song is also a perfect example of how tight Deep Purple was back then. "Child in Time" is the next song, and it is also one of my Purple favourites. On this version, you hear epic dynamics, unmatched singing from Gillan, a great organ solo by Jon Lord, extended and rapid guitar improvisation by Blackmore etc. As a whole, incredible song and performance! "Smoke on the water" isn´t the most known riff in the world for nothing. Killer riff, and great energy througout the song. As usual, unique and great solos by both Blackmore and Lord, and also the lyrics tells us a funny story. "The Mule", with its snakecharming theme, is the showcase for the amazing drummer Ian Paice. With that said, I tend to be inpatient with drum solos, so this is not my favourite track on the album. But I really like the way the band starts playing those rapid, unison licks after a long drum solo, and Paice just keeps going, drumming like a maniac! "Strange kind of Woman" is another favourite of the album. Very simple, swinging rock song, and then the guitar solos come! this song may contain the best guitar improvisation ever recorded with the two extended solos by Blackmore. The solos contains technique, melody, feeling, creativity and energy, just about everything you could wish! Strange kind of Woman also includes the interesting vocal/guitar battle between Gillan and Blackmore, which shows off Gillans incredible vocal range, and how good the two of them worked together musically. "Lazy" is in a way very basic, and in a way not basic at all. It starts off with a crazy organ intro, where Lord show us every possible way of playing a hammond. The song is simply a 12-bar, but heavily modified with Purple charachteristics. Fantastic soloing, great energy and pace, a break were Blackmore is quoting a swedish tune called "Midsommarvaka" and then the band get together again and finish the song in a classy way. Stunning performance! "Space Truckin" is the last song of the album, and covers a whole side on the LP. It´s a classic Purple song, and in this version it includes endless improvisations by the band, primarly by Lord. Not my favourite, but still a cool way to end an album. Five stars on this one without doubt, it belongs in everyones record collection!


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  26. siLLy puPPy (882)
  27. Rune2000 (869)
  28. BrufordFreak (862)
  29. octopus-4 (856)
  30. memowakeman (850)
  31. kev rowland (844)
  32. Marty McFly (834)
  33. Guillermo (788)
  34. Chris S (753)
  35. Eetu Pellonpaa (722)
  36. Rivertree (705)
  37. Neu!mann (688)
  38. greenback (685)
  39. progrules (666)
  40. Seyo (643)
  41. Epignosis (624)
  42. Prog-jester (623)
  43. lor68 (601)
  44. Prog Leviathan (572)
  45. Ivan_Melgar_M (556)
  46. philippe (540)
  47. admireArt (525)
  48. Aussie-Byrd-Brother (510)
  49. friso (498)
  50. hdfisch (492)
  51. stefro (484)
  52. Chicapah (483)
  53. DamoXt7942 (472)
  54. Dobermensch (462)
  55. colorofmoney91 (459)
  56. zravkapt (455)
  57. J-Man (449)
  58. russellk (435)
  59. Atavachron (430)
  60. ProgShine (426)
  61. Menswear (417)
  62. Sinusoid (402)
  63. andrea (399)
  64. Queen By-Tor (396)
  65. TCat (377)
  66. tarkus1980 (367)
  67. Nightfly (365)
  68. Greger (365)
  69. Zitro (359)
  70. Cygnus X-2 (353)
  71. fuxi (353)
  72. Andrea Cortese (348)
  73. EatThatPhonebook (326)
  74. lazland (324)
  75. Guldbamsen (321)
  76. Modrigue (320)
  77. Negoba (316)
  78. richardh (314)
  79. Tom Ozric (306)
  80. Kazuhiro (299)
  81. Flucktrot (294)
  82. Proghead (289)
  83. OpethGuitarist (287)
  84. progaardvark (286)
  85. Second Life Syndrome (268)
  86. daveconn (266)
  87. Trotsky (264)
  88. Muzikman (263)
  89. Slartibartfast (257)
  90. clarke2001 (254)
  91. The T (249)
  92. GruvanDahlman (238)
  93. Andy Webb (237)
  94. Bj-1 (235)
  95. FragileKings (232)
  96. aapatsos (230)
  97. 1800iareyay (225)
  98. js (Easy Money) (222)
  99. poslednijat_colobar (222)
  100. Raff (217)

List of all PA collaborators

  1. Close To The Edge
  2. Selling England By The Pound
  3. Thick As A Brick
    Jethro Tull
  4. Wish You Were Here
    Pink Floyd
  5. In The Court Of The Crimson King
    King Crimson
  6. Foxtrot
  7. Dark Side Of The Moon
    Pink Floyd
  8. Red
    King Crimson
  9. Animals
    Pink Floyd
  10. Godbluff
    Van Der Graaf Generator
  11. Fragile
  12. Nursery Cryme
  13. Larks' Tongues In Aspic
    King Crimson
  14. Pawn Hearts
    Van Der Graaf Generator
  15. Moving Pictures
  16. Mirage
  17. Per Un Amico
    Premiata Forneria Marconi (PFM)
  18. Hybris
  19. Moonmadness
  20. Hemispheres
  21. Relayer
  22. Darwin!
    Banco Del Mutuo Soccorso
  23. Io Sono Nato Libero
    Banco Del Mutuo Soccorso
  24. In A Glass House
    Gentle Giant
  25. A Farewell To Kings
  26. Storia Di Un Minuto
    Premiata Forneria Marconi (PFM)
  27. Kind Of Blue
    Miles Davis
  28. Si On Avait Besoin D'Une Cinquième Saison
  29. Aqualung
    Jethro Tull
  30. Birds Of Fire
    Mahavishnu Orchestra
  31. Hot Rats
    Frank Zappa
  32. Still Life
  33. Meddle
    Pink Floyd
  34. Crime Of The Century
  35. The Raven That Refused To Sing (And Other Stories)
    Steven Wilson
  36. Ommadawn
    Mike Oldfield
  37. The Neal Morse Band: The Similitude Of A Dream
    Neal Morse
  38. H To He, Who Am The Only One
    Van Der Graaf Generator
  39. The Silent Corner And The Empty Stage
    Peter Hammill
  40. Depois Do Fim
  41. Permanent Waves
  42. The Mothers Of Invention: One Size Fits All
    Frank Zappa
  43. Images And Words
    Dream Theater
  44. The Lamb Lies Down On Broadway
  45. The Grand Wazoo
    Frank Zappa
  46. The Yes Album
  47. Metropolis Part 2 - Scenes From A Memory
    Dream Theater
  48. Scheherazade And Other Stories
  49. In A Silent Way
    Miles Davis
  50. Hand. Cannot. Erase.
    Steven Wilson
  51. The Snow Goose
  52. Mekanïk Destruktïw Kommandöh
  53. Octopus
    Gentle Giant
  54. The Power And The Glory
    Gentle Giant
  55. Still Life
    Van Der Graaf Generator
  56. A Trick Of The Tail
  57. Free Hand
    Gentle Giant
  58. Rock Bottom
    Robert Wyatt
  59. Zarathustra
    Museo Rosenbach
  60. In The Land Of Grey And Pink
  61. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  62. Blackwater Park
  63. Second Life Syndrome
  64. The Road Of Bones
  65. Ghost Reveries
  66. Misplaced Childhood
  67. In Absentia
    Porcupine Tree
  68. Fear Of A Blank Planet
    Porcupine Tree
  69. Space Shanty
  70. Emerson Lake & Palmer
    Emerson Lake & Palmer
  71. Viljans Öga
  72. Hatfield And The North
    Hatfield And The North
  73. Arbeit Macht Frei
  74. Spectrum
    Billy Cobham
  75. Acquiring The Taste
    Gentle Giant
  76. K.A
  77. If I Could Do It All Over Again, I'd Do It All Over You
  78. The Inner Mounting Flame
    Mahavishnu Orchestra
  79. Rubycon
    Tangerine Dream
  80. Hamburger Concerto
  81. Anabelas
  82. Script For A Jester's Tear
  83. Radio Gnome Invisible Vol. 3 - You
  84. The Perfect Element Part 1
    Pain Of Salvation
  85. Bitches Brew
    Miles Davis
  86. Elegant Gypsy
    Al Di Meola
  87. Voyage Of The Acolyte
    Steve Hackett
  88. L'Isola Di Niente
    Premiata Forneria Marconi (PFM)
  89. Romantic Warrior
    Return To Forever
  90. Crimson
    Edge of Sanity
  91. Remedy Lane
    Pain Of Salvation
  92. Doomsday Afternoon
  93. Felona E Sorona
    Le Orme
  94. Lateralus
  95. Grace For Drowning
    Steven Wilson
  96. Caravanserai
  97. Leftoverture
  98. Pale Communion
  99. Part The Second
    Maudlin Of The Well
  100. Hiromi's Sonicbloom: Time Control
    Hiromi Uehara

* Weighted Ratings (aka WR), used for ordering, is cached and re-calculated every 15 minutes.


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