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 This is.....Gracious!!  by GRACIOUS album cover Studio Album, 1971
3.79 | 94 ratings

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This is.....Gracious!!
Gracious Symphonic Prog

Review by SteveG

2 stars Strangely, This is ...Gracious!!, their sophomore and final album of the seventies until partially reuniting in nineties, leaves me even colder than their scattershot debut album. At least with their first album Gracious!, you never knew what direction the band was going to veer off to. Not so with This is...Gracious!! The band have become more focused and have concentrated on structured songs that again lean heavily on prog influences of the era such as Floydian guitars and more prominent use of Mellotron. But for me, it just doesn't work. Gracious had taken a path more closely emulating their heroes King Crimson (in place of the Moody Blues) on many of the album's closing tracks, but lead vocalist Paul Davis' roughly Ozzy like voice, while unique for prog, doesn't gel with the faux Beach Boys harmonies of the other band members.

But there's little surprise turns on This Is...Gracious!!, and the band just lack that certain magic, be it pretension, high drama, camp, kitsch or whatever that helps to send prog into the realm of greatness. To their credit, it was not from a lack of trying. Similar to a band like Spring, they will always remain a seventies' prog footnote with a dedicated cult following.

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 Sacred Baboon by YEZDA URFA album cover Studio Album, 1989
3.94 | 167 ratings

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Sacred Baboon
Yezda Urfa Eclectic Prog

Review by maryes

5 stars 5 stars !!! When I heard for the first time in early 90's this "Sacred Baboon" by YEZDA URFA, I stay wondering about how this album don't was released in the 70's or even in the early 80's ?

A very probable answer is... the massive prog rock production in 70's and the ascension of (**?????!!!!) punk rock and disco music in 80's , both more commercial and lucrative in the records business " eclipsed " a countless number of excellent albums ! I can't find any other explanation !

This a album is a must item to a prog collection, you can hear echoes of fantastic bands as for instance YES, GENTLE GIANT, GRYPHON, KING CRIMSOM and some others.

Unlike the majority I consider, in the track 1 "Give 'Em Some Rawhide Chewies" Rick Rodenbaugh's voice more close of Coilin Carter of FLASH than Jon Anderson's vocal timbre. Track 3 "Tota In The Moya" sounds like a KC meeting GG with a fantastic closing section in YES style. Overture of track 5 "Flow Guides Aren't My Bag" (about 1 min 57 min ) is a "demolition" heavy-prog theme and recall me RUSH with fantastic guitar/keyboard/bass and drums performance, the middle theme in GG "flavor" with "crazy" percussion/vocals counterpoint ! In short a pearl , my rate is 5 stars !!!

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 Works Vol. 1 by EMERSON LAKE & PALMER album cover Studio Album, 1977
2.87 | 656 ratings

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Works Vol. 1
Emerson Lake & Palmer Symphonic Prog

Review by Progfan97402

2 stars I found a used copy of this at a St. Vincent de Paul in 2017 after getting rid of my original copy in 1996 that I bought in 1994. I can see why I got rid of this. It's a messy album, to say the least. The egos of the three men must have gotten so out of hand that it took almost four years to record a followup to Brain Salad Surgery, and when it did, it was a double album. Sadly only one side was dedicated to the whole band, the rest was solo material, each side assigned to specific member. Keith Emerson's side is consumed by his "Piano Concerto", which really left me cold, even though it's thought of as one of the saving features of the album. Greg Lake's side is largely sappy acoustic ballads, the type he revisited on "Black Moon" ("Farewell to Arms" and "Footprints in the Snow" could easily fit on Lake's side of Works Vol. 1 were it not for the early '90s digital production). The worst offender is by far "Closer to Believing" and it's just as painful for me to listen now in 2017 as I did in 1994. "Lend Your Love to Me Tonight" actually isn't too bad, though. Carl Palmer's side, well, I can't remember a thing about it, and there's a rather useless remake of "Tank", talk about running out of ideas! The group side is clearly the best thing on this album with "Fanfare for the Common Man" and "Pirates". I know many will gripe about the lack of organ, mainly because Emerson fell in love with that monster three keyboard Yamaha GX-1 (which Stevie Wonder used on his then-latest album Songs in the Key of Life, as well as Led Zeppelin in 1979 with In Through the Out Door, as well as Rick van der Linden, and Jurgen Fritz on New Triumvirat's Pompeii). It may be overblown, but no more overblown than their earlier stuff. I really think this album could have greatly improved if Emerson still continued using his old Moog and Hammond organ and not treat the GX-1 like a total replacement. It would have also improved greatly if the band kept their egos in check and made a full album of group material. While I have never been a fan of punk rock, an album like this makes you understand why it happened. One listen to "Closer to Believing" and you wanna reach out for that Sex Pistols album. Works Vol. 1 has its moments, but it's definitely not essential.

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 Pat Metheny Unity Group: Kin (↔) by METHENY , PAT album cover Studio Album, 2014
3.77 | 51 ratings

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Pat Metheny Unity Group: Kin (↔)
Pat Metheny Jazz Rock/Fusion

Review by Walkscore

4 stars Comparing the number of ratings and reviews of Pat Metheny's albums to the number for many other contemporary artists, it seems that Pat's work could be getting overlooked by some who would really appreciate it. This is the most recent album released by Pat. For this album, Pat took the 'Unity Band' (Chris Potter on sax, Ben Williams on bass, Antonio Sanchez on drums), and added one new member (Giulio Carmassi on trumpet, synths, and other instruments) to make the 'Unity Group'. Although this could be looked at as a follow-up to the Unity Band album, in many ways the music is very different. While Unity Band is mostly mellow jazz played as jazz, 'Kin' is very dynamic and complex, much closer to his albums with the Pat Metheny Group (like his excellent 'This Way Up' album). For this band, Pat mixes some of his orchestrionics into the band (Carmassi controls those during the live show - I have seen his Unity Group live twice now - it is amazing to see xylophones, marimbas, and glass jugs suddenly come to life and play themselves!). Also, while Unity Band has mostly shorter pieces, this album has a number of extended compositions. The longest is the 15-minute opener "On Day One", which I think is one of the highlights of the album. The second piece ("Rise Up") is 10 minutes, and likely also to appeal to those who like more complex music. Both the fourth track ("Sign of the Season") and title track ("Kin") are roughly 11 minutes long, start very quiet and build up to a progressive jazz climax with exceptionally difficult fast drumming, similar to parts of This Way Up. The title track has some fantastic quasi-drum-soloing in the last minute or so (anyone who has not heard/seen Antonio Sanchez drum has not yet lived). The other tracks include either nice quiet acoustic-guitar-based short pieces, or faster sax-and-guitar jazz pieces, but otherwise do not stand out. One thing - I am a big Pat Metheny fan and love even most of his slow jazz, but have to admit that I don't like one of the tracks on this album (track 6: "Born", which I find to too slow, simple, and smalzy, with overly-simple drumming - I wish this had been replaced or plastered with another Sanchez drum solo!). But apart from that one tune, everything else on this is great, and the longer epic-like compositions are likely to appeal to anyone who likes the more progressive side of Pat. I give this 8.4 out of 10 on my 10-point scale, and thus 4 PA stars (would be 8.7 without the weaker tracks, which would have improved the flow).

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 Tap - John Zorn's Book Of Angels, Vol. 20 by METHENY , PAT album cover Studio Album, 2013
3.82 | 19 ratings

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Tap - John Zorn's Book Of Angels, Vol. 20
Pat Metheny Jazz Rock/Fusion

Review by Walkscore

4 stars Pat Metheny decided to record an album of John Zorn compositions for this album, his second-most recent release. There are only two musicians on this album, Pat and drummer Antonio Sanchez, with Pat playing all the other instruments (even sitar and flugelhorn). Pat went through Zorn's Book of Angels catalogue and selected these six compositions - for some reason they had not yet been 'taken' for the first 19 Book of Angels. This album is really excellent! It is highly diverse, shifting between complex fast progressive-rock/jazz sections, to distorted noisy parts, to laid back acoustic guitar, to very quiet and slow (yet still tense) sections, to sections derivative of Klezmer. As the compositions are Zorn's, not Pat's, it does not have quite the same sound as most Pat Metheny albums, and on some songs if you didn't better you would not be able to tell it is Pat Metheny (saying this, when he solos you can almost always tell it is him!). This music is darker, more raw and more varied than typical PM. Each song is very different. The first track ("Mastema") is an up-tempo track likely to appeal to fans of progressive rock/jazz fusion. The second track is a laid-back long and quiet but beautiful piece featuring acoustic guitar. The third track starts with a somewhat Metheny-like piano pattern morphing into a complex Klezmer-like theme, then changes into a dark progressive jazz piece with Pat on synth-guitar and Antonio on complex drumming, then ends with a return to the complex theme. Really excellent! The 11-minute "Sariel" (Track 4) begins as an acoustic piece using Greco-Turkish scales, but then electric guitar and drums enter and the piece builds to a distorted climax (but with a two-minute acoustic guitar interlude in the middle). My favourite track on the album, however, is the 11-minute "Phanuel" (track 5), which is the slowest, darkest, yet to my mind the most beautiful piece on the album. Really haunting with excellent acoustic guitar (but really slow and with weird noises and voices in parts, so won't appeal to everyone). Track 6, meanwhile, is almost free jazz and very noisy. When I first listened to this album, I couldn't easily process it as it is so diverse, but have found that the more I listen to it, the more I want to put it on again, and while some sections are hardly musical, others are intensely musical and beautiful. It will take a number of listens - not for the faint of heart. All together, I give this album 8.2 out of 10 on my 10-point scale, so 4 PA stars (if the whole album had been like tracks 3 and 5 it would have scored above 9/10).

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 Unity Band by METHENY , PAT album cover Studio Album, 2012
4.00 | 21 ratings

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Unity Band
Pat Metheny Jazz Rock/Fusion

Review by Walkscore

4 stars I just noticed that there are not yet any reviews of Pat Metheny's last three albums here on PA. This one is the first album from Pat's 'Unity Band', which includes Chris Potter on saxophones, Ben Williams, and the amazing Antonio Sanchez on drums. This album is, for the most part, more laid back than the follow-up 'Kin', which would include the same core lineup but add Giulio Carmassi on trumpet and other multiple instruments, creating the 'Unity Group' (as opposed to 'Band'). Unlike 'Kin', which will appeal to those who love progressive rock and not necessarily jazz, to like this 'Unity Band' album you will need to love jazz. But for those who do, it is really excellent jazz. The feel is set by first mellow guitar lines of the excellent 'New Year', followed by the equally excellent 'Roof Dogs'. The latter has become a common staple of Metheny's live show, and is among only two songs on this album with lots of energy, excellent fast high-pitched synth-guitar and sax solos (the other is the fast last song - 'Breakdealer'). 'Roof Dogs' is also likely the song that will appeal most to those who like the more progressive Metheny Group pieces. The rest of the album is mostly quiet and melodic (the first two minutes of Signals is a bit RIO, but it morphs into a great quiet slow piece), with Metheny playing his regular signature guitar sound on most songs (Roof Dogs is the main exception). To my mind, there is not a bad song on this album, and the compositions are excellent. I have listened to this album >20 times already. I like it slightly better than 'Kin'. I give it 8.5 out of 10 on my 10-point scale, which translates to 4 PA stars.

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 Knirsch by ET CETERA (DE) album cover Studio Album, 1972
4.23 | 16 ratings

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Knirsch
Et Cetera (DE) Krautrock

Review by Igor91

4 stars With the recent passing of the great Larry Coryell, I made it a point to put on this monster of an album on in his honor the other day. This was the only Et Cetera album that he played on, but man did he leave his mark! The previous LP had the excellent German guitarist, Sigi Schwab, who injected his ethnic style into the music. Coryell, an American, brought in more of a West Coast, psychedelic, jazzrock style to Et Cetera's Kraut-jazz. Experimental German jazz keyboardist Wolfgang Dauner, of course, was the leader of Et Cetera and composed all but the opening track.

That opening track, "The Really Great Escape" is Coryell's, and it is a one of the grooviest, stoned-out tracks from that era. The song reeks of the 70's, and is sticky with resin. Some might call it dated, but I call it pure awesomeness. Coryell's guitar work is superb, and his vocals are stunning. He wasn't known for his vocal skills, but here he kills it. It is the only song to feature vocals and it really differs from the rest of the album, but the album definitely benefits from it being on there. Coryell released a different version of this song on one of his own albums, which is longer and features horns, but it does not compare to the version on Knirsch.

There rest of Knirsh is pure Dauner, and Coryell's stunning guitar work helps lift it to great heights. The rest of the band, long-time Dauner drummer/percussionist Fred Braceful, Colosseum drummer Jon Hiseman, and German jazz bassist Günter Lenz, all shine on their performances.

The second track, "Sun" is a piano driven jazz number, which also displays Coryell's jazz chops. "Yan" is the most avant-garde piece on the LP, and is devoid of structure, melody, or rhythm. There is lots of experimental noodling and noise here, parts of it reminding me of the studio disc of Pink Floyd's Ummagumma, "The Grand Vizier's Garden Party" in particular. Next up is the stellar track, "Tuning Spread," which is a nice mix of Krautrock unconventionality and jazzrock. It has an excellent groove in parts, with Jon Hiseman laying down a funky-as-hell beat. The closing cut is "Yin," which gradually builds from a quiet jazz tune to a more energetic jazzrock.

While I feel it is a stretch to call this album Krautrock, it definitely encompasses a good deal of that genre into its jazzrock cocktail. This is a great record to chill to with friends late at night, or with headphones on your own, if you prefer. I would have given this a five star rating had it not been for the track "Yan." While I can appreciate some good old experimentation in music, when it lacks any kind of structure, rhythm, or melody, and goes on past the five minute mark, I will often begin to get bored and/or annoyed. "Yan" goes on for thirteen minutes.

I highly recommend Et Cetera's Knirsch for those who are into Krautrock and/or experimental jazzrock. It does have a very early 70's vibe to it, but the experimental structures and performances keep it from sounding dated, in my opinion anyway. I give it four stars. Larry Coryell R.I.P.

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 Lykaia by SOEN album cover Studio Album, 2017
3.82 | 35 ratings

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Lykaia
Soen Experimental/Post Metal

Review by The Jester

3 stars For those who aren't familiar with the name of Soen, I should tell you that is a band with experienced and very gifted musicians, that all of them participated in other famous bands before gathering up and form Soen. So, here you can find ex-members from Opeth, Amon Amarth, Iced Earth, Testament etc. Their discography consists of 3 studio albums, with Lykaia, being their brand new one. Since I found out very recently about them, I am not familiar with their previous works, so I cannot get into any comparisons. When I listen to some "new" Prog Metal bands, every time I found myself thinking how big influence was the music and the style of Tool, and Soen is not an exception. Their style - to my ears at least ? sounds like a mix of Tool with Riverside. The truth is that, Lykaia is a good album, but it simply feels like a lot of their ideas are redundant. The guitar playing, for example, is top notch, but on the other hand, we have many Prog Metal bands that can play equally well. But there are some "magical" moments that the bands "shines" and there you realize how good musicians these guys are. The album is a very good one, with nice compositions, great guitar solos, powerful riffs, clean vocals, but no new ideas unfortunately. In many cases, I found myself wondering, "Where do I know this from"? The main problem that this band is facing is the bitter reality that great musicianship does not equal great songwriting, and although they might have some very solid ideas to develop, they don't really have the ability to capture the listener for an extended period. But despite all those things, Lykaia is a good album. The fans of Prog-Metal will definitely enjoy it, not to mention the fans of Progressive Rock and Heavy Metal. I think I could give 3.0 out of 5.0 stars.

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 Selling England By The Pound by GENESIS album cover Studio Album, 1973
4.63 | 3621 ratings

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Selling England By The Pound
Genesis Symphonic Prog

Review by BitterJalapeno

5 stars If any album deserves to receive the status of "Masterpiece" it is without a doubt "Selling England by the Pound" from Genesis. Everything on this album is sheer genius on a level above anything else.

The way Gabriel's mellow vocals in the intro of "Dancing with the Moonlit Knight" transcend into Hackett's energetic ripping guitar licks from get things off to a phenomenal start and they never dull from that moment on. The rest of the first track is full of inspiring eclectic snyth melodies from Banks

"I Know What I Like (I Your Wardrobe) is easily the most accessible track on the album with its warming, poppy qualities. It oozes pure summer sunshine and provides a contextual cue for the innocence of childhood. Additionally, fabulous vocal melody.

"Firth of Fifth" demonstrates Banks' incredible piano and synth skills, played with ever alternating time signatures forming a rhythmically complex piece. When fused with Gabriel's flute and an incredible guitar solo from Hackett, this song has to be considered a milestone in symphonic rock.

"More Fool Me" for me is the weakest song on the album for a few reasons. Firstly, Collins takes lead vocals, not Gabriel. Although it does break up the album nicely, I do find it myself skipping it every other time I listen.

"The Battle of Epping Forest" is nothing other than a piece of art. The lyrics and vocal performance are extraordinary. You generally feel like you get to know the various characters described in the battle. The music is extremely beautiful, in particular the acoustic section with the lyrics "they called me the reverend..." The bass and synths are the real stars of the show in this as they layer over each other into a stunning musical fabric.

"After the Ordeal" demonstrates effective use of a nylon stringed guitar played with impeccable finger picking technique combine with piano. Hackett produces a resoundingly smooth electric guitar solo in the second half of the track.

"The Cinema Show" is utterly immense. "Na na na" vocals and beautifully melodic and bending guitars are absolutely sublime, Just listen to it.

"Aisle of Plenty" could not be a better way to round of this unbelievable recording. Incredible lyrical references to British culture which begin in the opening track are continued. "Take the safeway home" and "Thankful for her fine fair discount, Tess cooperates" are genius.

Overall, this album captures everything I love about progressive rock in 53 minutes. Unbeatable.

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 The Quiet Zone / The Pleasure Dome by VAN DER GRAAF GENERATOR album cover Studio Album, 1977
3.64 | 563 ratings

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The Quiet Zone / The Pleasure Dome
Van Der Graaf Generator Eclectic Prog

Review by VianaProghead

4 stars Review Nº 108

After Genesis, Yes and Pink Floyd, in my humble opinion, Van Der Graaf Generator is with Camel, Jethro Tull, Emerson, Lake & Palmer, Gentle Giant, King Crimson and Rush, one of the best 70's progressive groups and is also one of the bands that most influenced the movement of the progressive rock music. Van Der Graaf Generator was formed in 1967 at Manchester University, but soon they were settled in London. They quickly become a celebrated progressive rock band with a very dedicated cult following. However, they never achieved the fame of many of their compatriot bands.

'The Quiet Zone/The Pleasure Dome' is the eighth studio album of Van Der Graaf Generator and was released in 1977. It's an album that marks several, severe and profound changes into the group and into their music too. In the first place, the band shortened their name to Van Der Graaf, which wasn't a usual thing. In the second place, at the end of 1976, following their previous studio album 'World Record' released in 1976, first Hugh Banton and later David Jackson departed from the band. In the third place, the previous bass player of the group Nic Potter returned to the band, supposedly to replace Banton. In the fourth place, the violinist Graham Smith formerly member of the progressive folk band String Driven Thing was called to replace Jackson. Finally, the last but not the least change, 'The Quiet Zone/The Pleasure Dome' was Van Der Graaf Generator's last studio album before their 2005 reunion. Thanks God it happened.

'The Quiet Zone/The Pleasure Dome' has nine tracks. All tracks were written by Peter Hammill except the sixth track 'Cat's Eye/Yellow Fever (Running)' which was written by Hammill and Smith. The album is clearly divided into two distinct parts, 'The Quiet Zone' and 'The Pleasure Dome'. The first part, 'The Quiet Zone' has four tracks. The first track 'Lizard Play' is a song with some very peculiar rhythm and with a very interesting violin work. This is a good song to open the album and telling us that the band's sound has changed. The second track 'The Habit Of The Broken Heart' is also a good track and is essentially an acoustic song commanded by acoustic guitar. The sound of the organ is very subtle, quiet and nice. The third track 'The Siren Song' is a song very calm and beautiful conducted by piano and violin. It's a very melancholic and acoustic song with deep vocals and a nice violin work. This is a song where the sound came direct from the past keeping the same dark musical atmosphere from their previous albums. Somehow, it seems to me a kind of a reminiscent of 'Pilgrims'. The fourth track 'Last Frame' is another song, and like the previous track, also makes a return to the past. It's my favourite track on 'The Quiet Zone' side of the album. It has a great Smith's violin work with some acoustic parts, and is also a song with a very dark musical atmosphere which makes of it a truly fantastic track to close the first part of the album. The second part, 'The Pleasure Dome' has five tracks. The first track 'The Wave' which opens the second part of the album is a very calm, melancholic and a beautiful song in the same vein of Van Der Graaf Generator's songs with good lyrics. It's very well sung by Hammill, and it's also conducted by piano and violin. This is the shortest track on the album, very melodious and tranquil. The second track 'Cat's Eye/Yellow Fever (Running)' is my favourite song on the album. It has a fantastic violin work which fully demonstrates the technical virtuosity of Smith with his violin, which raises this song to the perfection of a masterpiece. This is a very frantic song very heavy on violin and bass and with a kind of an excessive vocal approach by Hammill. By itself, this track deserves the purchase of the album. The third track 'The Sphinx In The Face' is the dynamic rocker song on the album representing in a way the Van Der Graaf Generator's heaviest moment on it. The fourth track 'Chemical World' is another good song on the album, with good working on violin by Smith and it has also a good classic guitar melody. This is a very dark song with a moody sound that helps to give to the album a very unique feel. The fifth track 'The Sphinx Returns' is a reprise of 'The Sphinx In The Face' and concludes and closes the album in a very interesting way.

Conclusion: After take a look at various reviews of the album, it's interesting to note that there are different points of views. Not so much about the quality of the album, in general they're favourable, but about the favourite side of the album and their best songs. For me, 'The Quiet Zone/The Pleasure Dome' is a very good album of Van Der Graaf Generator but it's also a strange and an exotic album. It's musically divided into two parts and has a different sound mainly due to the changes into their line up. Despite 'The Quiet Zone' and 'The Pleasure Dome' be two distinct parts, the album is very balanced in its quality level. My favourite tracks on the album are 'The Siren Song', 'Last Frame', 'The Wave' and especially 'Cat's Eye/Yellow Fever (Running)'. In relation to the changes into their line up, it's clearly evident the lack of the keyboards of Banton and the saxophones and flute of Jackson. However, both Smith and Potter made a terrific job. So, for me, it remains a great work of the group, especially in that historical and critical context.

Prog is my Ferrari. Jem Godfrey (Frost*)

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  63. andrea (401)
  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. Modrigue (350)
  73. Andrea Cortese (348)
  74. EatThatPhonebook (326)
  75. lazland (324)
  76. Guldbamsen (322)
  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 (248)
  92. FragileKings (240)
  93. GruvanDahlman (238)
  94. Andy Webb (237)
  95. Bj-1 (235)
  96. aapatsos (235)
  97. 1800iareyay (225)
  98. poslednijat_colobar (224)
  99. js (Easy Money) (222)
  100. Raff (217)

List of all PA collaborators

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