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CROSSOVER PROG

A Progressive Rock Sub-genre


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Crossover Prog definition

Crossover Prog contains progressive rock music that, though 100% progressive, may have a musical connection to popular music-- whether it be the lack of emphasis on extended compositions, or an influence from mainstream music in addition to classical, jazz and folk. Compositions, however, still exhibit a high degree of sophistication, sometimes outright complexity, and the musicianship and virtuosity is often on a par with established Prog acts. Much like their kin in the established prog sub-genres, these groups will incorporate many major parts of what defines prog rock: the fusing of rock with the structures and discipline of more traditional musics, the use of syntheisizers and new technologies, intelligent thematics, and the expansion of the form.

The defining characteristics of Crossover Prog are a pop music influence that is largely vacant in typical prog rock. Songs tend toward shorter, more concise presentations though still reach beyond the typical verse, bridge, chorus pattern. The harmonic, melodic, and rhythmic structures may be more easily digested in Crossover while not losing the musical integrity that a prog listener expects. Whereas Prog Related bands are generally commercial groups with certain prog elements or players that were involved in prog acts, Crossover Prog artists are predominantly progressive with elements of popular music.

The most representative examples for this genre include The MOODY BLUES, SUPERTRAMP, DREDG, CINEMA SHOW, RADIOHEAD.

- written by micky (Michael) and Chus (Jesus)

Current team members:
as at 26/10/2019

kev rowland (Kev)
Evolver (Scott)
Cristi
Keishiro (DamoXt7942)

Crossover Prog Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Crossover Prog | More Top Prog lists and filters

4.31 | 1584 ratings
CRIME OF THE CENTURY
Supertramp
4.30 | 1484 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.30 | 1320 ratings
OMMADAWN
Oldfield, Mike
4.28 | 2047 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.22 | 968 ratings
DOOMSDAY AFTERNOON
Phideaux
4.19 | 1749 ratings
GRACE FOR DROWNING
Wilson, Steven
4.20 | 865 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.20 | 827 ratings
SNOWTORCH
Phideaux
4.18 | 811 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.18 | 1021 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.17 | 739 ratings
THE UNDERFALL YARD
Big Big Train
4.16 | 546 ratings
~
Iamthemorning
4.17 | 385 ratings
SPIRIT OF EDEN
Talk Talk
4.15 | 432 ratings
HOUNDS OF LOVE
Bush, Kate
4.31 | 99 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.10 | 1138 ratings
TUBULAR BELLS
Oldfield, Mike
4.25 | 124 ratings
SON
Obiymy Doschu
4.20 | 170 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.10 | 591 ratings
NIGHT
Gazpacho
4.14 | 299 ratings
THE DREAMING
Bush, Kate

Crossover Prog overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Crossover Prog experts team

BLACK DOG THERE
Box, The
BROKEN CHINA
Wright, Richard
CONQUISTA
Alux Nahual
GENERAL WINTER'S SECRET MUSEUM
Tea Club, The

Latest Crossover Prog Music Reviews


 On The Dry Land by SEA NYMPHS, THE album cover Studio Album, 2016
3.93 | 5 ratings

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On The Dry Land
The Sea Nymphs Crossover Prog

Review by Lewian

4 stars "On the Dry Land" is the second Sea Nymphs album, or actually the third, if we count 1984's "Mr. and Mrs. Smith and Mr. Drake" by the same trio then under that name, all of which are now available on CD via the Alphabet Business Concern website (and probably also elsewhere).

As is already implied, The Sea Nymphs are in fact Mr. and Mrs. Smith and Mr. Drake, namely Tim and Sarah Smith and William D. Drake of the Cardiacs. The material on this album was probably already recorded around 1992 but not finished until 2015/16 by the original trio, which means that this is the first and to this day (January 2020) only published piece of work on which Tim Smith had his hands after his heart attack in 2008. As such it should be very special to every Cardiacs fan, although the Sea Nymphs music is quite a bit different from the Cardiacs, much quieter, without electric guitars and mostly without conventional drums.

There is a great variety of instrumental sounds used on this album. William D. Drake gives us a lot of piano, all kinds of organs and a good range of other sounds including accordeon and almost mellotron-ey strings; actually he emulates half of an orchestra at times, probably supported by Tim Smith. Sarah Smith apparently plays some horn on top of her saxophone. All three sing, which works very well because of the different character of their voices. Tim's style is most well known through the Cardiacs, and this time well suitable for the songs he sings . Sarah gives us a good amount of her dreamy fairy-like voice, and Bill uses his charming town crier's voice still with youthful energy and (occasional) disregard for hitting the right notes.

I have already reviewed the first (or rather second, see above) Sea Nymphs album and wasn't fully convinced of it. I like "On the Dry Land" a good deal more, for a number of reasons. Firstly, the production, with which I took issue on the previous album, can't be faulted this time, and is much more even and transparent. Secondly, although the melodies are as tricky and convoluted as before, I find more properly memorable material on "On the Dry Land". My highlights are the iconic instrumental hymn "Mirmaid's Purse", the pastoral, keyboards and horn driven "Heaven Haven", and "A Kind of Keeper", the best of the Tim Smith guitar-dominated song. However, the whole album really shines in its variety. There are dream-like tracks with sustained melodies, more or less minimalist guitar-driven songs with Cardiacs-like twists and turns, adventurous 3 minutes mini-epics with a plethora of harmonies and melodies (I add "Sea Snake Beware" to the earlier list of highlights), children's melodies, a delightful 23 seconds piano etude, fun fair carousel music to make you dizzy and more, including some faster material.

Overall it's a very joyful affair, inventive as before, but this time also better balanced, with a well working order of songs given the listeners the changes they need, and denser with quality material. Actually going back to the earlier Sea Nymphs album, "On the Dry Land" has worked as something of a guide, and I find more in that one now.

This is surely not your average prog album, which is already clear from the fact that it has 15 tracks and is just 34:10 long (pity!), still it comes with the amount of ideas with which other bands would fill an hour or more. The sound has elements of the Cardiacs and William D. Drakes solo work, and a number of songs are strongly dominated by one of the musicians, but the Sea Nymphs style is ultimately very unique, something to dream and to maybe enjoy all the beauties of underwater scenery (Sea Nymphs is a very fitting band name), relaxed flowing with some swirls rather than driving forward. The Sea Nymphs gave an interview in Prog magazine where they say that there is another album worth of material waiting to be finished and released, so there may be more to look forward to. 4.1 stars.

 Isolation EP by THREE WISE MONKEYS album cover Singles/EPs/Fan Club/Promo, 2020
4.00 | 1 ratings

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Isolation EP
Three Wise Monkeys Crossover Prog

Review by TCat
Collaborator Eclectic Team

— First review of this album —
4 stars Three Wise Monkeys is a crossover prog band that see themselves as a fusion band. The were founded in Syndey, Australia in 2010 and have been busy playing gigs, recording albums and EPs and continually jamming since then. However, their recorded material seems to have dropped off since 2015, until finally in January of 2020, they released their 'Isolation EP'. This is a short, 3 track EP that also comes in a deluxe edition that has many more tracks included, but the tracks are all the separate jam tracks of each instrument on each of the tracks along with full score notation. We'll just stick with the 3 track edition here as the deluxe edition is obviously for accomplished musicians who want to play along.

The band is currently made up of Kypo on guitar, Alex King on bass and Brendon Waterman on drums. The EP starts off with 'Svengali' (4:05) which has some nice chunky guitar parts, but the music travels from heavy to laid back several times throughout the track. It's not just a full-bore, stoner-guitar attack, but it is surprisingly dynamic, and all of the instruments shine. The rhythm switches around several times through the course of the song, but riffs and melodies still stick out even with the meter changes that flow along quite well.

Where the first track opens heavy and strong, 'Durka Durka' (5:52) begins much softer with pensive, jangly guitar and smoother drums and bass. Again, there is a level of complexity in the rhythm. The bass gets the melody in some places, and even plays along with the guitar when the music eventually intensifies, then goes into a tasty guitar solo with the bass throwing out its own series of notes. The music soon calms, but the bass brings it all back again. Again, we get another solid, heavy prog rocking track with swashes of chords mingling with faster guitar and bass notes. All the while the drums are also making themselves known, not content to just sit back and support, but providing the complex rhythm and adding to the music at an even percentage as the other instruments.

The EP ends with the most heavy track of all, 'Procrustes' (3:36). Solid guitar riffage starts it off, but then the bass goes into staccato mode pumping out notes as the guitar plays along with a smooth solo. The drums once again fit into the complexity nicely, filling in the holes when needed and cutting back when not needed. Wow, that bass is pretty amazing too.

This goes by way too fast and hopefully is a sign of something bigger to come soon. This is a very talented instrumental band that tends to stay in a mode somewhere around heavy fusion prog and a real thinking-man's prog metal. It is a very enjoyable EP whose only fault is that it is too short. I do think its cool that they also provide the deluxe edition which is aimed at encouraging listeners to play along, but you'd have to be quite good at it to keep up with any of these three musicians. Easily 4 stars, but I wish it were longer.

 A Curious Feeling by BANKS, TONY album cover Studio Album, 1979
3.43 | 213 ratings

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A Curious Feeling
Tony Banks Crossover Prog

Review by VianaProghead
Prog Reviewer

4 stars Review Nş 309

"A Curious Feeling" is the debut solo studio album of Tony Banks and was released in 1979. It was released after the departure of Steve Hackett from Genesis, between "Wind And Wuthering" and "...And Then There were Three...". Tony Banks was the first of the three remaining members of Genesis to release a solo work. However, "A Curious Feeling" never reached the success that Mike Rutherford and Phil Collins reached with "Smallcreep's Day" and "Face Value".

The album's cover design was made by Hothouse and the cover painting is named "Wuluwait - Boatman Of The Dead" and was painted by Ainslie Roberts who was an Australian painter, photographer, writer and a commercial artist too.

Tony Banks wrote all the tracks and he also played almost all the music instruments on it, such as, the keyboards, the guitars, the basses and the percussion. However, he selects to collaborate with him two other musicians. For the drums and percussion he chooses Chester Thompson, an American drummer and session musician who played before with Weather Report and Frank Zappa. On vocals, he chooses Kim Beacon who was a member of "String Driven Thing".

The story of "A Curious Feeling" is a science fiction novel based on the book "Flowers For Algernon" by Daniel Keyes, who was an American writer of science fiction and fantasy novels. It was written in 1958. Algernon is a laboratory mouse which was subject to a surgical intervention to increase his intelligence by artificial means. The story touches many different ethical and moral themes such as the treatment of the mentally disabled, the conflict between intellect and emotion or happiness and hoe events in the past that can influence the personality of a person later in his later life.

"A Curious Feeling" has eleven tracks. Most of the time, the music all over the album is dominated by Banks' fantastic playing, especially the Yamaha electric Grand piano, which was at the time a very popular instrument, can be heard on many of the tracks. Also the layers of string synthesizers, which were made to create an orchestral feeling on the instrumental pieces, sound very impressive. Tony's efforts on the electric and acoustic guitar are worth listening too.

The first track "From The Undertow" opens the album as an instrumental prelude. This is a nice and dramatic piano and keyboard piece. It's in the same vein of what Genesis made on "...And Then There Were Three...". "Lucky Me" is a nice track with great vocal work by Beacon. The guitar and the keyboards that work in the back are very nice too. The song is a bit contemporary in tone and has a great melody. "The Lie" is also an excellent track that could easily have fit into Genesis' portfolio of that era. It precedes the high point of the album, their magnum opus. "After The Lie" is another track that could have fit into Genesis' portfolio of that era. The dramatic tension, structure and particularly the keyboard solo are on par with some Genesis' best output. Thompson's drumming is another highlight on the track. The title track is a light footed pop rock song that lifts your spirit, as opposed to the other rather melancholic pieces of the album. It has a catchy instrumental hook and a rousing spoken introduction from Beacon. This is probably one of the strongest tracks on the album. "Forever Morning" epitomizes everything you would hope for in a real Banks' track. The music builds layer by layer reaching moments of intense grandeur with a very delicate theme at the mid point and a dramatic closing section. "You" is a romantic ballad dominated by sensitive vocals and some Genesis' inflected guitar before a fiery synthesizer solo opens up into a bombastic instrumental sequence. "Somebody Else's Dream" is the lengthiest track on the album. Thompson has been unchained to add some welcome a very dynamic drumming work and Beacon gives probably his best vocal performance on the album. "The Waters Of Lethe" remains the album's most successful offering built around a simple but lyrical piano theme before breaking out into a grandiose guitar and keyboard fanfare. It sounds amazingly beautiful like "Wind And Wuthering". "For A While" is one of the most straight forward songs. This is a melancholic short pop rock song with an engaging melody and an optimistic tone. It features a rare electric guitar break from Banks. "In The Dark" is a beautiful understated piece to conclude the album in a true Banks' style. This short track is nice and includes one final and majestic orchestral flourish. This is a very nice way to close the album.

Conclusion: "A Curious Feeling" has elements of Genesis' early progressive sound. So, it makes of this Banks' debut release the strongest and the really only album from him entirely progressive. After all I wrote about the tracks, I can say that it's for very little that I don't consider this album a true masterpiece. I think to be a masterpiece, only lacks to it a small flame of emotion. So, my rating is 4 stars because I think that it's closer to 4 stars than 5 stars. So, for what all I said before, I sincerely think that "A Curious Feeling" is really a must for all fans of Genesis and for all progressive fans. I know the album since it was released, and fortunately, despite my CD copy, I have also my old vinyl copy. I also know that this album always had also a very special place in Tony's heart, even now, after all these years have passed.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Titus Groan by TITUS GROAN album cover Studio Album, 1970
3.53 | 60 ratings

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Titus Groan
Titus Groan Crossover Prog

Review by Psychedelic Paul

5 stars TITUS GROAN were a short-lived British Jazz-Rock quartet, named after the first Gormenghast novel by Mervyn Peake. Their one and only self-titled album, released in 1970, contained five tracks all over five minutes long, including one extended suite "Hall of Bright Carvings" with a running time of nearly twelve minutes. The 1989 CD reissue added three bonus tracks to the album. Let's venture forth now into the fantastic fantasy world of Titus Groan.

The album opens in rousing and rollicking fashion with "It Wasn't for You", a lively saxophonic blast of good old-fashioned bluesy Jazz-Rock, very much in the style of those other fine purveyors of uplifting funky fusion, Ginger Baker's Airforce and the Graham Bond Organisation. The singer has the same kind of rough raucous voice as Graham Bond. In other words, they both sound like they eat gravel for breakfast in the morning, but that's no less than what we'd expect from the best of British blues singers. In fact, this is just the kind of energetic and spirited Jazz-Rock we could all do with listening to first thing in the morning to get us up out of bed and instil a spirit of vim and vigour and get-up-and-go energy to face the day ahead. Alternatively, you could listen to some gentle and relaxing New Age music and roll over and go back to sleep again. Now that Titus Groan have grabbed our attention with the lively opening number, it's time for the extended four-piece suite "Hall Of Bright Carvings". This epic song is a real musical tour de force, featuring flamboyant flutes, heavy guitar riffing, booming bass-lines and pounding percussion. The dynamic contrast between the gently melodic pastoral passages combined with sudden explosive outbursts of musical artillery fire are what really sets this music alight with power and passion. Titus Groan can really carve their names with pride for producing stunning Jazz-Rock like this.

Side Two opens with "I Can't Change", which ironically, is a song full of constant change. It's a resonant flute-driven refrain that draws obvious comparisons with Jethro Tull, although the song takes a very unexpected turn midway through with a pleasant Country Rock diversion, before a return to more familiar fluty Jazz-Rock pastures. Either way, it's a great song that barrels along relentlessly and features enough sudden tempo changes to delight devotees of Jazzy Prog-Rock. The next song "It's All Up with Us" is very commercially appealing, which would have made it an ideal choice for release as a single. The impassioned silver-toned singer is positively bursting with optimism here and the heart-warming music sounds as bright and uplifting as a radiant sunburst of rainbow colours after a summer shower. This is timeless evergreen music where all the brightly-coloured flowers in the garden are blooming. And talking of flowers, along comes "Fuschia" (a misspelling perhaps?), which is sadly the final song on the album, although all good things must come to an end, unless of course you're lucky enough to possess the CD reissue with three bonus tracks included. "Fuschia" refers to Miss *Fuchsia* Groan from the Titus Groan novel. The music is another flawless funky fusion of pounding Jazz-Rock energy, which is altogether upbeat, up-tempo and uplifting.

Titus Groan have delivered a memorable timeless Jazz-Rock classic with their one and only album release. This energetic evergreen album sounds just as good today fifty years on as it ever did back in the halcyon days of the proggy 1970's.

 I Believe in You by TALK TALK album cover Singles/EPs/Fan Club/Promo, 1988
3.00 | 1 ratings

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I Believe in You
Talk Talk Crossover Prog

Review by jamesbaldwin
Prog Reviewer

— First review of this album —
3 stars This single contains a reduced version of "I Believe in You", atmospheric ballad voice-keyboards-drums, which in the extended version has a greater charm, due to the greater hypnoticity and the role of the strange central instrumental solo. Here is only a good song, nothing more. Rating 7.5.

Then on the B side there is the outtake " John Cope", more pop-style, more rhythmic but the phrasing on drums refers to other pieces of Spirit of Eden and does not appear particularly original, in fact it is a minor song of Talk Talk. Rating 7+.

Overall modest single, which reaches the three stars for a while, the beauty of the Talk Talk music, arrived at this point lies in the beauty of the project of the entire album, not in the individual episodes.

7+ rating. Three stars.

 Living in Another World by TALK TALK album cover Singles/EPs/Fan Club/Promo, 1986
3.14 | 3 ratings

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Living in Another World
Talk Talk Crossover Prog

Review by jamesbaldwin
Prog Reviewer

3 stars This single features two piano ballads:

1) Living in another world, 45 rpm version i.e. short version. I consider the extended version, that of the LP, better, more intense, capable of reaching higher emotional peaks thanks to the greater development of the melodic, obsessive theme, which reaches paroxysm. However, this version is more concentrated and retains that dramatic mix of vocals, percussion, and keyboards that gives to the song a swirling, mesmeric trend: hence its great charm. Rating 8+.

2) For what it's worth is a ballad, with Paul Webb's bass in evidence, then the keyboards, the drums with the drumsticks that beat on the outline of the snare, It's a pop-jazz song, which could be comparable to some of the Simply Red, but which does not have the same grit, it is atmospheric, and a little too monotonous. Rated 7.5.

45 rpm rating: 8. Three and a half stars.

 Laughing Stock by TALK TALK album cover Studio Album, 1991
4.01 | 277 ratings

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Laughing Stock
Talk Talk Crossover Prog

Review by jamesbaldwin
Prog Reviewer

4 stars Talk Talk loses bassist Paul Webb, replaced by two session men who play acoustic bass, and Hollis with Lee Harris, but in reality with Tim Friese-Greene they publish an even less commercial art-work than the previous one, ever closer to free-jazz and free-folk with chamber ensemble. The sounds seem only hinted at, without being developed, the melodies are almost always truncated, it is music of pure suggestion, which produces evocation of atmospheres.

1. Myrrhman (5:33) Minimalist, jazzy music, Hollis' voice as protagonist, minimal, acoustic orchestral sounds, which are painted softly, almost in a low voice, as if we were at a meditation in the church, great suggestion, a lot of atmosphere, little melody. Rating 7,5.

2. Ascension Day (6:00) Here the drum snare pulses and the electric guitars are distorted, in a cold but dry, hard, almost hard rock arrangement, with a beautiful singing, and after two verses the electric guitar is released with a loud crescendo that ends suddenly. The masterpiece of the album and it is not a case that this is the most gritty song, the only one where the drama deflagrates. Rating 8,5.

3. After the Flood (9:39) Relaxed ballad, marked by keyboards and by the rhythm of the drums, which remains the same from the beginning to the end, and this is a handicap because the beauty of Talk Talk's music is now all in its unpredictability. Here the voice flies on the high notes in the refrain which, however, does not reach the peak of pathos of Spirit of Eden precisely because the rhythm continues always the same, and does not adapt to the dramatic crescendo. Then comes a good distorted guitar solo, which is more of a paroxysmal repetition of the same riff, then a keyboard solo, and finally a verse and chorus again. Atmospheric piece. Rating 7,5/8

End of Side A.

4. Taphead (7:30) Beautiful song, that part suffused, whispered, and then develops a wonderful instrumental part where the accumulated tension struggles to come out, we are at very high levels of refinement, cerebral and cold emotions, and only certain whispers of Hollis' voice or some instruments they bring out the pathos, the drama, which remains almost harnessed, except for a few seconds of final explosion. Rating 8+.

5. New Grass (9:40) This is the second long ballad conducted by the same rhythm of the drums, exactly like After the Flood but here the atmosphere is more cheerful, with an higher rhythm. But the phrases on the drums and on the guitar tend to be too repetitive and the central instrumental solo is almost immobile, Talk Talk seem to aspire to silence or to the ecstatic musical phrase to be left bare. Rating 7+.

6. Runeii (4:58) Minimalist song with voice and electric guitar, similar to the last song of the previous album, which was arranged with keyboards and vocals. This one is too nuanced, too soft. Rating 6,5/7.

Talk Talk continue in their evolution towards post-rock music increasingly similar to free-jazz, cold, sophisticated music, almost chamber music, where the structure of the songs is increasingly disarticulated. The record is remarkable but has a limit: the search for original and minimal sounds becomes conditioning towards the melody and the pathos, In Spirit of Eden, the musical qualities allowed to pass from a slow, dilated music, which had to overcome an inertia, to a music where voice and instruments finally exploded in powerful and dramatic moments. In this second record, the initial, inertial part of the songs is disproportionately dilated, and the final part, deflagrating, cathartic, struggles to arrive, Talk Talk prefer to mention it rather than develop it, so the inertial tension that pervades the songs does not have a true liberating outburst, it remains bottled in sounds and it is expressed only through hinted musical phrases, however beautiful and refined. This characteristic reduces pathos and emotions.

Rating: 8,5. Four Stars

 Out Of The Blue by ELECTRIC LIGHT ORCHESTRA album cover Studio Album, 1977
3.64 | 303 ratings

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Out Of The Blue
Electric Light Orchestra Crossover Prog

Review by Jochanan

3 stars After many years of avoiding ELO's production of the second half of the 70's, and rather prefering the first half with the Eldorado highlight, I finally found enough courage to go through the "sweet" disco era.

I got interested in this 2 LP album to start with. And I find the album very pleasant, listening-friendly, colourful and idea-full. It showed me nice idea- It is better to do sincere and common stuff than trying to create something sophisticated, but failing, because it is not just my true way:

There comes to me a comparison of this album with ELO2. The average length of songs on ELO2 is somwhere about 8 minutes per song (which is an utter rarity for ELO :-)), I found the album empty and rigid- Roll over Beethoven could have been done within 5 minutes IMO, avoiding boring repetions, but that's a different story. I believe that Roy Wood's departure meant death of progressivity with ELO. Trying to be proggresive for Jeff Lynne and his band was not the way. Jeff Lynne's recipe is Sweet Talking Woman, Living Thing, a little bit of Fire on High and then some Xanadu and Mr. Blue Sky.

I pricked up my ears for some Gilmourish guitar solo, for an Emersonish keyboard solo, for some improvisation and they are very very scarce. What is rather important is consciousness in composing and richness of sound. Eveything here is neat, yes, there are a lot of ideas and colours, but they are subtle, somehow balanced. It is like a sightseeing in a tour bus. It's comfortable. You are taken everywhere and told everything imporatnt. Everything is safe: "See, there's museum, and there's parliament, and there's the oldest bookshop in the city and see- there's city park".

So, I want to say that I enjoy the sightseeing ride, it is sincere and fresh. My favourite higlights are Sweet Talking Woman, Believe Me Now, Sweet is the Night with beautiful Jeff's background singing and Concerto for a Rainy Day for its violin parts. It's better than 3 ***, but I don't want to give it 4, I don't know, all the songs are good, but in the end, it doesn't matter if they are part of this album, or that best of, or other platinum collection cd- 3,5 is a deal.

 Saga by SAGA album cover Studio Album, 1978
3.71 | 212 ratings

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Saga
Saga Crossover Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars Not as proggy as I was led to believe, there is more HALL & OATES, AMBROSIA, or SNIFF'N'THE TEARS here than classic prog rock. I'm guessing that it's the PETER BARDENS/LOVERBOY keys that have people including them in Prog World.

1. "How Long" (4:01) opens with a computer rhtyhm track sounding like "The Safety Dance" before rhythm & bass guitars and drums set up a CHIC-like disco beat. Singer Michael Sadler enters sounding like a pretentious pseudo Freddie Mercury. With b vox from Peter Rochon, they almost pull it off. Interesting. (8/10)

2. Humble Stance (5:50) (8.75/10)

3. Climbing the Ladder (4:45) electric guitar based, sounding CAMEL-esque before kicking into the four-chord form of the singing verses. Nice keyboard work. (8/10)

4. Will It Be You? (Chapter Four) (7:13) (13/15)

5. Perfectionist (5:46) (8.5/10)

6. Give 'Em the Money (4:25) the APP disco beat is not a great start. (8/10)

7. Ice Nice (6:55) Supertramp? Ambrosia? a combo of the two. Nice keyboard work. (13/15)

8. Tired World (Chapter Six) (7:06) (12.5/15)

Total Time: 44:51

B/four stars; an adequate addition to any prog lover's music collection.

 Mighty Baby by MIGHTY BABY album cover Studio Album, 1969
4.16 | 23 ratings

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Mighty Baby
Mighty Baby Crossover Prog

Review by Psychedelic Paul

4 stars MIGHTY BABY were a two-album Psychedelic Rock band from London, England, who were previously known as The Action. Their first album "Mighty Baby" (1969) was firmly rooted in American Psychedelic Rock. They had a change of direction with their second album "A Jug of Love" (1971), which had more of a laid-back spiritual feel to it, due to several members of the band taking up the Sufi faith in the interim period between the two albums. Let's take a mighty leap now into the psychedelic world of Mighty Baby's eponymously-titled first album.

We're in Raiders of the Lost Ark territory for the glorious opening number, "Egyptian Tomb". It's a trippy acid-drenched song that perfectly captures the American West Coast sound of the late 1960's, emulating such bands of the time as Quicksilver Messenger Service and Jefferson Airplane, only with a saxophone providing some additional flawless flourishes. The music brings to mind exotic images of pharaohs, sphinxes and pyramids, and camel rides across the desert beneath a burning red sun. Just watch out for those nasty scorpions and huge camel spiders though. There's more sunny psychedelia on the way with "A Friend You Know But Never See", another full-blooded blast of Psychedelic Rock with a powerful driving rhythm and some magnificent fuzzy guitar soloing. This is a perfect sunburst of rainbow-coloured psychedelia for listening to in a free-and- easy hippy commune on a sunshiny day in Southern California, or failing that, listening to at night with the lights off where you're free to do some California Dreamin' of sun, sand, sea and surfing, regardless of whether all the leaves are brown and the sky is grey, on a winter's day. There's a pleasant change of pace for "I've Been Down So Long", which begins as a nicely laid-back groove to put you in a mellow mood, but this is only a prelude as the dazzling guitarist has his amp turned up to eleven and he's more than ready to deliver another scorching hot guitar solo in a magnificent crescendo of sound. We're continuing the wild ride with more psychedelic red-hot vibes in "Same Way From the Sun", a footloose and fancy-free fuzz- toned guitar freak-out from beginning to end.

Opening Side Two is a "House Without Windows" which must be a very dark house indeed. The music is as bright as a sparkling crystal though, featuring six uninterrupted minutes of musical magic in another groovy psychedelic jam session. There's no let-up in the incredible pace with "Trials of a City", a bluesy psychedelic jam which barrels along at full-speed ahead. These London guys have really nailed it when it comes to playing American Psychedelic Rock. They sound like they were born and raised within sight of the Golden Gate Bridge, instead of the sprawling suburbs of London. We're slowing things down a bit now with "I'm From the Country", a pleasantly countrified, mellow diversion amongst the heavy Psychedelic Rock numbers. This is the kind of laid-back West Coast sound we're accustomed to hearing from any number of U.S. Country Rock bands, although it's rare to hear it played so authentically by a London-based band, where there's not a lot of sea and surfers to be seen. The final song "At a Point Between Fate and Destiny" has a somewhat solemn and spiritual air to it, which opens to the sound of a beautiful church organ. The music sounds mystical and hauntingly atmospheric and represents the real highlight of the album. It's a charming and blissful melody floating amidst a sea full of psychedelic rockers surfing on Californian waves of sun-drenched late-1960's music.

"Mighty Baby" is a mighty fine album for all of the psychedelic rockers out there who lived through the "Summer of Love" year of 1967 and want to rekindle those bygone, flower-power free-love days. You can re-live those halcyon days at any time of the year and travel back in time whenever you listen to this evergreen album of sparklingly effervescent psychedelia.

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Crossover Prog bands/artists list

Bands/Artists Country
17 PYGMIES United States
1974 United States
1O1 United States
22 Norway
3 United Kingdom
3 United States
3 LEGGED MONSTER United States
3RDEGREE United States
7TH KIND United States
90 DAY MEN United States
A.L.F. Brazil
A2RK United Kingdom
AARDVARK United Kingdom
AARDVARK' Finland
ABACUS Germany
ABARAX Germany
ABBFINOOSTY United Kingdom
ABIOGENESI Italy
LEE ABRAHAM United Kingdom
ABSENTE H Spain
ABSINTHE JUNK United States
ACANTHE France
ACCION ROCK BAND Spain
ACTIVE HEED Italy
THE ADDICTION DREAM United States
THE ADVANCEMENT United States
AFTER... Poland
AGATHORN Denmark
AGRABAH Argentina
EDUARDO AGUILLAR Brazil
AHOORA Iran
AKIN France
AKROPOLIS Denmark
ALEPH Australia
ALIAS EYE Germany
ALL OVER EVERYWHERE United States
ALPHA LIGHTING SYSTEM Mexico
ALPHAJORGE Brazil
ALTERNATIVE 4 United Kingdom
ALUX NAHUAL Guatemala
AMAROK Poland
AMAZING MACHINE Norway
THE AMAZING Sweden
AMBERFIELD Germany
AMITY IN FAME Austria
TORI AMOS United States
AMPERA Norway
AMPHETAMIN France
ANALOG MISSIONARY United States
THE ANALOGUE United Kingdom
ANANTA Venezuela
ANAWA Poland
THE ANCHORESS United Kingdom
ANDERSON PONTY BAND Multi-National
LAURIE ANDERSON United States
ANGULART Chile
ANOTHER ROADSIDE ATTRACTION Canada
ANTARES Italy
JERZY ANTCZAK Poland
ANUBIS SPIRE United States
ANYWHERE United States
APATHEIA Czech Republic
APE AMPLITUDE Germany
APOCALYPSIS Greece
APOGEE Germany
THE APPLE ZED United States
APPLESEED Poland
APPLESMELLCOLOUR Spain
AQUA TALK Turkey
AQUILA United Kingdom
THE ARBORIST United States
ARCA PROGJET Italy
ARCHANGELICA Poland
ARCHIVE United Kingdom
ARCPELAGO Brazil
AREA 39 United Kingdom
ARGENT United Kingdom
ARGO Lithuania
ARID GARDEN Italy
ARNIOE Australia
BRADY ARNOLD United States
TONY ARNOLD United States
ARONORA Australia
THE ARS SUPERNOVA United States
ART BY NUMBERS United States
ART CINEMA Denmark
ART DECO Finland
ARTIFICIAL HOME Latvia
ARTLAND Israel
ARZ United States
AS FOLLOWS United States
AS TALL AS LIONS United States
ASFALTO Spain
ASGARD United Kingdom
ASIDE BESIDE France
ASIMÉTRICA Mexico
ASSUAGE United States
ASTRAL BAZAAR Finland
ASTRONOMY United States
ASZENSION Canada
ATARAXIA Japan
ATIK MAZE Portugal
ATLANTYCA France
ATMOSPHERA Brazil
AUDIAC Germany
AUDIO'M France
AUDIOCRACY Multi-National
THE AURORA OBSERVATORY United States
AUT' CHOSE Canada
AUTOGRAPH (AVTOGRAF) Russia
AUTOMATIC MAN United States
AUTUMN ABOVE United States
AUTUMN CHORUS United Kingdom
AUTUMN ELECTRIC United States
AUTUMN PEOPLE United States
AUTUMN WHISPERS Multi-National
AUXFORD Russia
AVALON Canada
AVGRUNDEN Sweden
AVIARY United States
AMADEUS AWAD Lebanon
DAVID AXELROD United States
AZURETH Multi-National
BABAL United Kingdom
BACKHAND Venezuela
BACKWARD RUNNERS Poland
BAD DREAMS Argentina
BADWATER FIRE COMPANY United States
JOE BAILEY United Kingdom
DAVE BAINBRIDGE United Kingdom
KEN BAIRD Canada
BAKU Germany
BALEIA Brazil
ANDRE BALZER France
BANDA DO SOL Brazil
TONY BANKS United Kingdom
BARCLAY JAMES HARVEST United Kingdom
THE BARDS OF ANTIQUITY United States
NICKLAS BARKER Sweden
BARNUM'S FREAK Italy
BARON United Kingdom
MARTIN BARRE United Kingdom
BARROQUEJON Chile
SEBASTJAN BARTOL Slovenia
M.M. BARTULICA Bosnia and Herzegovina
COLIN BASS United Kingdom
BAT LENNY United States
BATISFERA Russia
BAUER Argentina
BE BOP DELUXE United Kingdom
BEAD GAME United States
BEAM-LIGHT Poland
DAVID BEDFORD United Kingdom
BEDUÍNOS A GASÓLEO Portugal
BELGRAD Poland
BEND SINISTER Canada
BENJAMIN'S KITE Canada
BENT KNEE United States
THE BENZENE RING United States
ROBERT BERRY United States
EMILY BEZAR United States
BIG BIG TRAIN United Kingdom
BIRZER BANDANA United Kingdom
BITTERTOWN Netherlands
BJÖRK Iceland
BLACK CAT BONES United Kingdom
THE BLACK LIGHT United Kingdom
BLACK MOTH SUPER RAINBOW United States
BLACK MOUNTAIN Canada
THE BLACK OF SPACE United States
BLONDIE FOX Italy
BLOW UP HOLLYWOOD United States
BLURRED VISION Canada
THE BODY POLITIC Canada
BOMBER GOGGLES United States
STEVE BONINO United States
BORAY Sweden
LINDSEY BOULLT United States
TIM BOWNESS United Kingdom
BOX OF CRAYONS United States
THE BOX Canada
THE BOY; THE BIRD & THE BEAST United States
VICTOR BRADY United States
BREATHING SPACE United Kingdom
BREZOVSKY-ROZSA Slovakia
BRIDGES Norway
BRIGHT BROWN United States
THE BRIMSTONE SOLAR RADIATION BAND Norway
TOM BRISLIN United States
STEVE BROCKMANN AND GEORGE ANDRADE Multi-National
PATRICK BROGUIČRE France
BROKEN PARACHUTE United Kingdom
DAVE BRONS United Kingdom
DUNCAN BROWNE United Kingdom
BRUTEUS United States
ROLAND BUHLMANN Switzerland
BUILT FOR THE FUTURE United States
BUKE AND GASE United States
BULBS United Kingdom
BUNCHAKEZE United Kingdom
BURNING SIDEWAYS United States
BURNT BELIEF Multi-National
BURNTFIELD Multi-National
ALAIN BURO Belgium
TARA BUSCH United Kingdom
KATE BUSH United Kingdom
BY SUNLIGHT United States
DAVID BYRNE United Kingdom
BYRON Romania
C SIDES United Kingdom
CAIRO United Kingdom
CALIFORNIA GUITAR TRIO United States
CAMELION France
THE BEN CAMERON PROJECT Australia
CANAMII South Africa
CANNATA United States
CANTURBE Argentina
CAP OUTRUN Sweden
CAPABILITY BROWN United Kingdom
CAPTAIN MARRYAT United Kingdom
FRANCK CARDUCCI France
CAREWORN United Kingdom
MARC CARLTON United Kingdom
CARVED IN ASHES Finland
LAURA CASALE United States
CASTLE CANYON United States
STEPHEN CAUDEL United Kingdom
GUILLAUME CAZENAVE France
CEILING UNLIMITED United States
CELL15 United States
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CHALIS United States
CHANCE France
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CHANGES Switzerland
CHANGING IMAGES Germany
THE CHANT Finland
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CHASM Norway
RANI CHATOORGOON Canada
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CLARION Italy
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CLOVER SEEDS France
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COZHE Finland
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CRÉPUSCULE Germany
CRIMINAL CATERPILLAR Canada
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CROSS Sweden
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CRYPTEX Germany
CRYSTALWOOD United States
CUAC! Spain
CUPRUM Czech Republic
PAUL CUSICK United Kingdom
THE CUSTODIAN United Kingdom
CYNOSURA Switzerland
CYRIL Germany
LAREN D'OR Hungary
NICK D'VIRGILIO United States
DAEMONIA Italy
DAMANEK United Kingdom
DAPHNE Italy
DAVID'S LODGERS Italy
DAYMOON Portugal
DDNZ Serbia
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DICE Germany
THE DIFFERENCE Slovakia
DIFFERENT LIGHT Czech Republic
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DIRTY PROJECTORS United States
DISCONNECT United States
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DISTRICT 97 United States
DLGZ ROCK 5TET France
DOC'S FERMENT United States
DOKTOR SPIRA I LJUDSKA BICA Yugoslavia
DOPING HORNETS Canada
GEOFFREY DOWNES United Kingdom
DR FOLAMOUR France
DREAM THE ELECTRIC SLEEP United States
THE DREAMING TREE United Kingdom
DREDG United States
DRY RIVER Spain
MARK DUBERRY Ireland
FRANCIS DUNNERY United Kingdom
DW. DUNPHY United States
DUTCH UNCLES United Kingdom
DYNAMO BLISS Sweden
DYONISOS United States
DZEJBI Yugoslavia
EARTHKIND United States
EATLIZ Israel
ECHO Romania
ECHOES OF GIANTS United States
ECLIPSE Canada
ECLIPSE SOL-AIR Multi-National
EDEL Multi-National
EIDÔLON France
ELDBERG Iceland
ELECTRA Germany
ELECTRIC LIGHT ORCHESTRA United Kingdom
ELECTRIC SORCERY United States
ELECTRUM United States
ELEND France
ELEPHANT PLAZA Norway
ELIPHASZ Canada
ELORA France
ELYSIUM THEORY United States
KEITH EMERSON United Kingdom
GERT EMMENS Netherlands
EMPEROR NORTON United Kingdom
EMPIRE United Kingdom
EMPIRICAL TIME Italy
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ENINE Russia
ENNĎS TÓLA Australia
ENTITY PARADIGM Pakistan
ENTRANSIENT United States
EOS Chile
EPIICYCLE United States
ESAGIL Greece
ESFERA Portugal
ESP Multi-National
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EVEN HORSES Germany
EVENT United States
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EYEVORY Germany
FACE THE DAY Czech Republic
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FATAL FUSION Norway
LA FE Chile
FEED ME JACK United States
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FEROZ Mexico
FERVENT MIND Norway
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FIELD MUSIC United Kingdom
FIELDS OF NĆCLUDA France
PIOTR FIGIEL Poland
NICOLAS FIGUEROA Chile
SEAN FILKINS United Kingdom
FINALLY GEORGE Germany
HEATHER FINDLAY United Kingdom
FIRE GARDEN United States
FIRE ON DAWSON Germany
FIREHORSE Germany
FISH ON FRIDAY Belgium
FLAMENCS Argentina
FLAUD LOGIC United States
FLICKER United Kingdom
FLOOD United Kingdom
FLORA Italy
FLOWER CORONET United States
FLOWER FLESH Italy
JEREMY FLOWER United States
FOBOS Argentina
FONTARABIE Canada
FORMATIV Multi-National
THE FORMER LIFE Italy
LORENZO ESPOSITO FORNASARI Italy
FORWARD SHAPES United States
FOSSIL EVOLUTION Belgium
FOURTEEN TWENTYSIX Netherlands
FRACTAL MIRROR Netherlands
FRACTAL ROCK United States
FRAGILE Estonia
FRANC ALBIR Spain
FREDDEGREDDE Sweden
FREEDOM TO GLIDE United Kingdom
FREELIGHT United States
FRENCH LICK United States
FREQUENCY DRIFT Germany
HASSE FRÖBERG & MUSICAL COMPANION Sweden
FROSKULL United States
FRUTERIA TONI Spain
FRXHO Mexico
FSB Bulgaria
FUCHS Germany
FULL CODE New Zealand
FUTURUM Czech Republic
GABRIEL BONDAGE United States
PETER GABRIEL United Kingdom
GALACTIC COWBOY ORCHESTRA United States
GALAXY-LIN Netherlands
GALERIA DE RAICES Argentina
GALIJA Yugoslavia
GALLERY Norway
GAMMA REPEATER United States
GANDALF Austria
GANDALF'S PROJECT Italy
GAP PARTY Italy
ANJA GARBAREK Norway
GAZPACHO Norway
KEVIN GEIER United States
GEKKO PROJEKT United States
GIO GENTILE Italy
GENTLE KNIFE Norway
THE GENTLE STORM Netherlands
GENTLEMEN WITHOUT WEAPONS United Kingdom
GEPPETTO'S RETRIBUTION United States
THE GHAITANELLIS-TASSI PROJECT France
GHOST CIRCUS Multi-National
GHOST COMMUNITY United Kingdom
GIANNOTTI United States
GIANT THE VINE Italy
IL GIARDINO ONIRICO Italy
GIDEON Canada
KEVIN GILBERT United States
KRISTOFFER GILDENLÖW Sweden
GINTONIC Spain
GIRAFFE United States
GIZMO United Kingdom
GLASFROSCH Australia
GLASS KITES Canada
YIANNIS GLEZOS Greece
GLORIE United States
GLORIOUS WOLF Netherlands
VICTOR GO Ukraine
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GOLDEN CAVES Netherlands
GOLIATH United Kingdom
LE GONG DU BALAYEUR France
GOTHIC LUNCH Italy
GOTHIK SERPENT Singapore
GRAMONAUTUS Argentina
PHILIPPE GRANCHER France
THE GRAND SILENT SYSTEM Australia
GRANDVAL France
GRAVITY TREE United States
GREEN Italy
THE GREEN VIOLINIST Belgium
MARK GREEN United Kingdom
DAVE GREENSLADE United Kingdom
GREY EYE GLANCES United States
GREY LOTUS Netherlands
GRICE United Kingdom
GRILL Australia
GRIME France
GROUP 309 Russia
LA GUERRA DELLE FORMICHE Italy
ID GUINNESS Canada
GUITAR GARDEN United States
GUNGFLY Sweden
HA' ARNAV HA-LAVAN Israel
HABELARD2 Italy
HABITAT Argentina
HADDAD Brazil
HAGGARD Germany
THE HALLUCINANT TELEPHERIQUE United States
HALO BLIND United Kingdom
HATS OFF GENTLEMEN IT'S ADEQUATE United Kingdom
JASON HAVELOCK France
HAYWARD & LODGE United Kingdom
HEADS IN THE SKY Canada
HEARTSCORE Germany
HEATWAVE Italy
ROEL VAN HELDEN Netherlands
HELICOPRIA Multi-National
HELIOTH United States
LUC HENRION Belgium
HENRY FOOL United Kingdom
HERESY United States
HERMETIC SCIENCE United States
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HIIDENSOINTI Finland
HIPGNOSIS Poland
STEVE HOGARTH United Kingdom
JOANNE HOGG United Kingdom
MARK HOLLIS United Kingdom
HOLLOW BRANCHES Multi-National
STE VAN HOLM Denmark
HOLON Norway
THE HOME GUARD United Kingdom
HOMESICK FOR SPACE United States
HOT HEAD SHOW United Kingdom
HOUR OF THE SHIPWRECK United States
HOUSE OF RABBITS United States
STEVE HOWE United Kingdom
HYPNOMEN Finland
I AM THE MANIC WHALE United Kingdom
I.AB United States
IAMTHEMORNING Russia
IF / IFSOUNDS Italy
IGAYON Israel
IGNATIUS Spain
ILLUSIVE LIGHT Germany
ILUZJON Poland
IMMUNE United Kingdom
IN CONTINUUM United States
IN LIMBO France
INDELIBLE Norway
INDEXI Yugoslavia
INFICTIONS United Kingdom
INFINITE MONOPOLY United States
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INFUSION KAMACHUI Argentina
INNER PROSPEKT Italy
INNERSPACE Canada
INSPIRATIONAL CORNER Austria
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INTERGALACTIC TOURING BAND Multi-National
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IO EARTH United Kingdom
ION United Kingdom
IRRGARTEN Canada
ISLANDS Canada
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IT BITES United Kingdom
J'ACCUSE..! Italy
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JAZ France
JEBEL United States
JEREMY United States
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JESTER United States
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JHIMM United States
JODY GRIND United Kingdom
JONO Sweden
JORM Sweden
JOUIS United Kingdom
KADDISFLY United States
KANT FREUD KAFKA Spain
KAOS MOON Canada
KAPREKAR'S CONSTANT United Kingdom
KARIBOW Germany
KASSINI United States
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KAYAK Netherlands
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KEEP IT DEEP Belgium
KEL LOCH & GOLD United States
TOM KELLY United States
MIKE KERSHAW United Kingdom
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DAVE KERZNER United States
KEVLAR RED United Kingdom
KIAMA United Kingdom
KID COUSIN United States
KIMURA France
KINESIC Spain
KING RAT United Kingdom
KINO United States
KINZOKU-EBISU Japan
KISS KISS United States
KITSUNE NO YOMEIRI Japan
KNIFEWORLD United Kingdom
KOI Sweden
GLEB KOLYADIN Russia
KOMPENDIUM United Kingdom
KOSKA Spain
KOYO United Kingdom
KRÁSNÉ NOVÉ STROJE Czech Republic
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KRUNKELSTILTSKIN United States
DAVE KULJU United States
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KURKI Finland
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LA YNE Finland
LABORATOR France
LANDSCAPE Poland
YOGI LANG Germany
LANTINOR Russia
LISA LARUE United States
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LAURA France
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LAYRA Italy
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JOHN LEES United Kingdom
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A LIFELONG JOURNEY Italy
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