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CROSSOVER PROG

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

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 01/22/2017

kev rowland (Kev)
Evolver (Scott)
tszirmay (Thomas)

Crossover Prog Top Albums


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

4.32 | 1158 ratings
OMMADAWN
Oldfield, Mike
4.31 | 1390 ratings
CRIME OF THE CENTURY
Supertramp
4.30 | 1757 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.28 | 1202 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.21 | 1569 ratings
GRACE FOR DROWNING
Wilson, Steven
4.22 | 879 ratings
DOOMSDAY AFTERNOON
Phideaux
4.20 | 918 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.20 | 756 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.20 | 489 ratings
~
iamthemorning
4.18 | 755 ratings
SNOWTORCH
Phideaux
4.29 | 173 ratings
GRIMSPOUND
Big Big Train
4.17 | 655 ratings
THE UNDERFALL YARD
Big Big Train
4.17 | 702 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.13 | 724 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.13 | 533 ratings
NIGHT
Gazpacho
4.35 | 83 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.09 | 1018 ratings
TUBULAR BELLS
Oldfield, Mike
4.22 | 145 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.12 | 315 ratings
SPIRIT OF EDEN
Talk Talk
4.20 | 153 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers

Crossover Prog overlooked and obscure gems albums new


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

CORPUS
Talisma
BROKEN CHINA
Wright, Richard
ABBANDONO DEL TEMPO E DELLE FORME
J'Accuse..!
BLACK DOG THERE
Box, The

Latest Crossover Prog Music Reviews


 Live Blood by GABRIEL, PETER album cover Live, 2011
3.56 | 38 ratings

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Live Blood
Peter Gabriel Crossover Prog

Review by tarkus1980
Prog Reviewer

3 stars A live album to cap off the "Peter goes orchestral" project was inevitable, but that doesn't mean it was really necessary. In person, I bet this would have been a lot of fun (especially since this album was recorded a while before the release of New Blood), and maybe if he hadn't released New Blood I would find more novelty here than I do, but as is this pretty much just rehashes the other orchestral albums, and what few additions this album does provide are more mixed than I might have guessed. There is a rather lovely rendition of "The Drop" here, with very sparse orchestration, and "Biko" works decently enough in this context to deserve repeated listens. Sadly, though, "Signal to Noise," the one Gabriel number here to have featured an orchestral in its original context, falls surprisingly flat, simply because the lack of chanting turns out to leave a glaring hole, and the minimalist backing vocals from Ane Brun and Melanie Gabriel simply aren't strong or interesting enough to fill it (this is actually a more general problem on the album than just this song; I didn't mind them too much on New Blood, and actually liked Ane quite a bit there, but they both come across as pretty second-rate here, and there are times when Melanie barely even gets to that level).

I don't want to go nuts and pretend that large parts of this aren't enjoyable. Everything that worked on New Blood basically works here ("San Jacinto" ends up pretty rousing in this setting, as do "Red Rain" and "Mercy Street"), and I actually like the rendition of "The Boy in the Bubble" (preceded by a hilarious spoken introduction, in which Peter first comes clean that the process of getting other people to cover his songs hadn't gone quite like he'd hoped it would, and then mentions that, for "The Boy in the Bubble" he "stripped all the African blood out of it, and we're left with another miserable white man's song") here more than on Scratch my Back, and overall the list of included songs is pretty decent. And yet, 2 hours and 20 minutes is an awful lot of time to spend listening to something like this, where everything gets pounded into the same general template, and I say that as somebody whose tolerance for late-period live albums that function as compilations is quite high.

Also, surprise surprise, "Don't Give Up" is no better live with an orchestra than in studio with an orchestra, and it was no better in studio with an orchestra than it was originally. What a gross way to finish the "regular" performances (there's a rendition of "The Nest That Sailed the Sky" to close out, and while it's basically just the original version it leaves a better taste in my mouth than what came before it).

Honestly, if he had just removed the covers (except maybe "The Book of Love"), thrown away the orchestra, and released a live album with the same track listing as found here but with his regular band, I probably would have ended up enjoying it significantly more. As is, as great as so many of the songs here are in their essence, and as well as Peter's voice continues to hold up, I just can't feel much enthusiasm for this.

 Of Things And Beings by LOST WORLD BAND album cover Studio Album, 2016
4.72 | 10 ratings

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Of Things And Beings
Lost World Band Crossover Prog

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

5 stars A band that has always had a gift for melody and beauty has now vaulted into the upper echelons of prog world with this release of complex, well-recorded and produced, symphonic prog. Whereas their sound was always a little unpolished and their songs a little too syrupy sweet, this one shows a significant leap in both sophistication and maturity. The new sound is like Mike Oldfield only better; Lost World has gone where we all wished (and thought) Mike would go (but didn't).

Line-up / Musicians: - Andy Didorenko / all guitars, violins, keyboards and vocal - Vassili Soloviev / flute - Konstantin Shtirlitz / drums - Alexander Akimov / percussion

1. "Shapes and Objects" (a symphonic creation with full orchestral support) I. "Random Objects in the Sun" (3:20) impressive dynamics. I find myself reminded of Mike Oldfield's Incantations only on a much more sophisticated level. The song just keeps getting better as it goes! Amazing instrumental appearances. (9.5/10) II. "Moving Dots" (3:15) the andante of this symphony--with vocals, flutes, acoustic guitars and orchestral contributions all helping with the syncopated weave. Then, half way through, it shifts into a smooth, upbeat orchestral piece. Awesome! (9.5/10) III. "Water Circles" (4:31) a kind of rondo with guitars, violins, and flutes trading the melody with orchestral percussion and drums helping out along the way. Incredible song. We are not worthy! Would that Mike Oldfield ever climbed to such heights! (10/10) IV. "Time Squares" (3:10) the dénouement and climax. Perfect! (9.5/10)

2. "When the Time is Still" (4:18) Gorgeous arrangement. (9.5/10)

3. "Death of Mr. Winter" (1:05) quirky and angular--a perfect foil for the previous songs. A lot like a JACK O' THE CLOCK song. (9/10)

4. "Intertwined" (3:30) an awesome multiple acoustic guitar étude--not unlike a WILLIAM ACKERMAN song, only on high doses of cafeine. Andy Didorenko on full display. (9/10)

5. "Of Things and Beings" (0:51) another quirky odd JACK O' THE CLOCK-like song with a heavily treated multiple tracked vocal. (9/10)

6. "Watchbird" (6:08) a full out, Chris Squire chunky bass prog en force. Not my favorite song or style of Andy's but it does display his ability to write and perform at a very high YES-like level of rock dynamism. The violin adds a true EDDIE JOBSON/UK-ness to the song. (Great drumming, Mr. Shtirlitz!) (9/10)

7. "Simple as" I. "One" (2:13) pastoral, hand percussion with flute and acoustic guitars. Amazing flute(s) and guitar(s) weave. Gorgeous! (10/10) II. "Two" (1:41) The feast continues! A little more up tempo this time. Like a Michel Legrand/Jean-Pierre Rampal/Alexandre LaGoya composition. Amazing! (10/10) III. "Three" (1:46) the third of the trilogy steps into a more metronomic (though off tempo) medieval troubadour feel and sound. Again, the jazzy sound of Legrand/Rampal/LaGoya is strongly brought to mind. (9/10)

8. "The Structure of Madness" (4:05) a return to heavier, electrified rock--this time of a style more akin to bands like MAHAVISHNU ORCHESTRA, ELP, BRUFORD, URIAH HEEP, even RUSH. Wonderful performances by all instruments-- especially drums, electric guitars, and bass. A definite masterpiece of progressive rock by a certifiable master of musical composition and performance.(10/10)

9. "On Thin Ice" (3:33) treads into the almost-'pop' style and sound of previous albums like 2009's Sound Source and 2013's Solar Power. By has this band/musician matured! (8.5/10)

10. "Downpour "(3:12) aggressive violin, guitars and bass open this song before the drums enter full throttle to drive this one to crescendoed highs (with notable valleys of meek dynamics). Impressive but not memorable or even very likable. (8/10)

This is by far and away the best album Lost World has released and one of the best albums I've heard from this year. (Oops! I guess it was a late 2016 release!) Excellent sound recording and production throughout (which was a weakness of past recordings). And despite Andy's virtuosity, his flute player and drummer are both on an equal level!

 Catalogue/Preserve/Amass by WILSON, STEVEN album cover Live, 2012
4.36 | 172 ratings

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Catalogue/Preserve/Amass
Steven Wilson Crossover Prog

Review by Mellotron Storm
Prog Reviewer

5 stars I'm surprised there's no written reviews for this one yet. The music here is taken from the European tour for the "Grace For Drowning" tour, in particular this was recorded in October of 2011. I saw this same tour but in Toronto at The Opera House. When I went to that show I went with my daughter who is a huge fan and her husband who is a big Country music fan. He's a good sport though and I heard him saying "My God!" a few times while watching Marco Minneman and I have to say that his performance on the kit was the best I've seen live and I hate to say that being a big Neil Peart fan but man Marco blew me away. The whole show was incredible though and to get a taste of that again with this album has been very meaningful to me.

My two favourite Steven wilson albums are the first two which is what is represented here. There are two songs from "Insurgents" and the rest from "Grace For Drowning". Oh and just to emphasize how much I love these two albums I gave "Insurgents" album of the year in 2008 and "Grace For Drowning" was my album of the year for 2011. The album's title "Catalogue/Preserve/Amass" is taken from the chorus for the song "Index".

"No Twilight Within The Courts Of The Sun" has a sinister vibe early on with the bass and drums as the electric piano joins in. Some nice guitar expressions follow then flute. It kicks in hard at 5 1/2 minutes. So good! A calm with vocals follows then it kicks back in but with vocals this time. Incredible! Love the mellotron section that follows along with the piano.

"Index" is that creepy song about the collector. Fairly relaxed overall but check out the brief power before 2 minutes. "Deform To Form A Star" is one of my favourite Wilson songs of all time. Just a gorgeous track, especially the chorus with the mellotron and soaring vocals. This one got stuck in my head at work this past week many times.

"Sectarian" opens with drums and some cool guitar expressions before the heaviness arrives. Check out the sax and mellotron after 2 minutes. A change around 4 minutes with electric piano, drums and bass leading the way, oh and check out the mellotron as well. Back to the heaviness after 6 minutes. "No Part Of Me" opens with drums, keys and atmosphere as almost spoken vocals join in before 2 minutes. Nice bass before 3 1/2 minutes then it kicks in heavily with riffs. "Veneno Para Las Hadas" is slow moving with plenty of atmosphere as laid back vocals join in. Flute 3 minutes in as the vocals step aside until after 4 minutes when they return. This one is laid back and melancholic.

"Raider II" ends it and as Steven says while introducing it, it is the centre-piece of the new album. He goes on to say that it's long(25 minutes) and complicated so silence please. Ominous is the word to start but man I like when it kicks into gear with mellotron before 3 minutes. Vocals join in and they do get passionate. I like the flute playing over the heaviness. A calm follows that I really like then we pretty much get Prog-Metal after 8 minutes. A sax solo before 10 minutes as it settles back. The heaviness returns 11 1/2 minutes in before another atmospheric calm a minute later. More flute then vocals. It's building 17 1/2 minutes in as the vocals step aside. Some crazy sax expressions after 19 minutes then a big finish except it's not over despite the roar from the audience 21 minutes in thinking it is. It ends in an ominous manner just like it began.

Great sound quality, great track list and an amazing performance by all involved makes this a 5 star album and one of my favourite live albums period.

 Is this the Life we Really Want? by WATERS, ROGER album cover Studio Album, 2017
3.73 | 92 ratings

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Is this the Life we Really Want?
Roger Waters Crossover Prog

Review by SteveG

4 stars A Roger Waters album that sounds like a Pink Floyd album? Well, that's a first. And if not quite factually a first, its certainly welcome.

I think most Roger/Floyd fans know this album was produced by Radiohead producer and engineer Nigel Godrich and this has helped in making it a more Floyd sounding album to add to Roger's solo arsenal. Roger's past disregard of the use of synths, no doubt triggered by his toxic feelings toward the late synth wizard Rick Wright, pushed Waters into a solo guitar based sound using only real orchestrations from the late Michael Kamen to color the songs on his solo albums starting with the Pros And Cons Of Hitchhiking in 1984. Kamen's sea sickness conjuring orchestrations worked wonders on songs like Comfortably Numb, but fell short on coloring the many moods required for Roger's solo songs. And let's face it, what is a Pink Floyd album or a solo Floyd endeavor without the use of synthesizers? Floyd and synths are nearly synonymous and it's a shame that Roger realized this fact after the great Rick Wright passed on. Would Wright have ever played on a Roger Waters solo album? Perhaps, but it's unlikely. But no need to fret as Waters and Godrich have assembled a handful of expert keyboardist that bring to mind a wonderful hybrid of Animals and The Wall synth colorings and tones, which does wonders both on the artistic and nostalgic fronts.

There's little guitar heroics on Is This The Life We Really Want? and that also is a good thing. Having someone like Jeff Beck shredding just to let David Gilmour know that betters guitarists exist is poor reasoning for employing him on Waters' past work titled Amused To Death. It's not the sole reason as Beck is legendary, but once again on a Waters solo album, Beck was a hired hand. He was not a musical contributor who helped arrange the songs on Amused To Death the way that Gilmour did on all Pink Floyd albums up to The Final Cut.

That was what was truly missing in Roger's solo outings. A collaborative partner. With super Pink Floyd fan Godrich arranging both the music and the dramatic strings on Is This The Life We Really Want?, that problem is firmly solved. Climatic guitar solos are missing on a few songs where they would have driven home an emotional point to the music, but we can't have everything, can we?

Is This The Life We Really Want? sounds to me like the great 1977 Pink Floyd album Animals not only revisited, but expanded upon for the 21st century, and is a really fine and, I'm sad to say, timely album. (It doesn't hurt that Roger and Godrich consciously or unconsciously resurrected the sound of the Animals' rhythm section on this album's harder rocking songs.) I rate Is This The Life We Really Want? at close to to 4 stars as it has 2 recurring faults of Waters' solo work. First off, like Waters' previous solo albums, Is This The Life We Really Want? seems anti climatic due to Roger's heartfelt "love cures all" sentiments on the album's final two tracks, the final track itself ending clumsily and abruptly, which only works with Radiohead, I'm afraid. Secondly, it's Roger once again in a political rant 25 years after releasing Amused To Death, an album I can rate no higher then 3.5 stars.

Will Is This The Life We Really Want? ever hit some type of classic status in the future? I don't believe so but I do see myself spinning this disc, if only on occasion, 25 years from now. That's more than I can say about Amused To Death, which I've only played a few times in the last 25 years. Music as art is always strange and personal and that's why we keep coming back to prog icons like Roger Waters. These icons don't always deliver, but when they do, watch out, stand back, catch your breath and enjoy yourself.

 Mad Moonlighters by SILVER HUNTER album cover Studio Album, 2016
3.00 | 2 ratings

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Mad Moonlighters
Silver Hunter Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

3 stars

Silver Hunter is a collaboration between Tim Hunter (who has released many albums on his label) and Thierry Sportouche (Silver Lining), so no guessing where the name came from. I have known Thierry for probably at least twenty years, but not as a musician but instead as the driving force behind Acid Dragon, probably one of the longest-running progzines around. Here he provides vocals and keyboards, while Tim provides vocals, guitar, keyboards and drums. They are joined by some other musicians and female backing vocals to give this Anglo/French duo a real band feel.

In some ways, this is quite a strange album, as although it is firmly within the progressive camp, there are so many different influences and styles in play that the album switches all the way through. 'The Silver Key' talks about the Silver Hunters, so is the closest they have to a theme song, and feels heavily influenced by diverse as Steve Miller, not someone who often features in prog reviews. There are spoken word sections, and I particularly love 'Dr. Beyond and the Prisoner of Dreams' which is about the Asylum of Musical Delusion ' we all know people and full bands who belong there. The story is spoken against a musical and sound effect backdrop, and is quite simple but is stunningly powerful. I also like how in another song Thierry announces that he is 'High Priest of Prog' ' in France that could well be the case.

This does feel like an independent release, and there are times when it is quite raw, but it is also strangely compelling. The first time I played it I wasn't too sure, but found that there were bits and pieces that stuck with me, and the more I have persevered the more I have found that to be the case and sometimes find myself singing snippets of the songs on here, which isn't something that usually happens. This doesn't appear to have had much in the way of reviews so far, even though it came out last year, and that may well be because it doesn't really fit in with most people's idea of prog, and is quite Seventies in approach at times as well, but overall I found that this is an album I really enjoyed. I hope there is enough interest to release another one soon.

 Heterotopia by SCHOOLTREE album cover Studio Album, 2017
4.22 | 45 ratings

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Heterotopia
Schooltree Crossover Prog

Review by thesmokingman

5 stars It's no secret many people's favorite musical works don't necessarily grip them on the first listen. Heterotopia by Schooltree is for me, further proof of this concept. It may have been that I was not completely focused, or it may have been that I didn't sit and digest the full 100 minutes of music in one continuous go, but the second through sixth(!) focused listens brought about a musical metanoia.

To say the theme of this album is lofty would be a misnomer, as that term describes height. This particular album is incredibly DEEP both musically and conceptually. Seemingly simple psychological concepts are personified as a cast of characters who interact with Suzie, a lost and depressed but otherwise normal and relatable protagonist who finds herself in a realm that is a twisted physical manifestation of her psyche. Without giving any spoilers, I would invite all who wish to dive down deep to the bottom of The River with Suzie to read along with the published libretto (synopsis and lyrics) as they listen: www.schooltreemusic.com/libretto. Once I did, the story began to really blossom and before long, I was sitting with Wikipedia tabs open to Heterotopia, Metanoia, Enantidromia, Carl Jung, Shadow, Archetype and more as I voraciously soaked up all the knowledge I could in an effort to really embrace all available nuance.

Musically, this album's production values are very live, airy and theatrical. Next to some more slickly and "cleanly" produced modern prog productions this may seem like a detriment, but the result is quite effective for this piece. Every song's tonality paints a well-envisioned sonic landscape that colorfully illustrates the chapters of the story. The band as a whole is very tight and the instrumentation incredibly deliberate. Especially noteworthy are the wide range of keyboard tones and jazz-infused chord progressions that keep the listener's mood in the proper space for each song. Just as wide-ranging is Lainey Schooltree's vocal performance. Whether straight on as Suzi, sublimely ethereal and glitched as the Leitmaiden Metanoia or disturbingly dark and gritty as Enantiodromia, her vision and performance of each character is inspired. The only production detriment of this album is that some of the more vocally effected lyrics are a touch hard to make out, but that in itself is not nearly enough to tarnish the rest of the amazingness.

All stylistic references to Kate Bush are right on the money, but with a much less angular delivery and what seems to be a more dedicated focus on performance value. Without going into too much additional detail that may mischaracterize the music, I would throw in Imogen Heap, Izz, Moth Vellum, Camel, mid-era Genesis, early-era Marillion, and perhaps a touch of No-Man. While the entire album is strong as a stright-through listen (if you can devote the uninterrupted time), the standout songs for one-off listening are are the jazz-funky "Cat Centipede", trippy-spacey "The Abyss", anthemic "Edge of a Dream", achingly haunting "The Leitmaiden", rocking "Specter Lyfe", powerfully dark "The River", and surging "Zombie Connection".

It's been a long time since I've been smitten with an album the way this one has hit me. It's a testament to the fact that some of the best music out today simply can't be found on the radio, and provides further drive in the quest to root out and support the artists who provide us with extraordinary soundtracks to otherwise ordinary lives.

 Crime Of The Century by SUPERTRAMP album cover Studio Album, 1974
4.31 | 1390 ratings

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Crime Of The Century
Supertramp Crossover Prog

Review by VianaProghead
Prog Reviewer

5 stars Review Nş 124

'Crime Of The Century' is the third studio album of Supertramp and was released in 1974. It's the first Supertramp's album to feature its classic line up and was co-produced by Ken Scott, an English experienced record producer and recording engineer, who previously worked with other famous artists and bands like David Bowie and The Beatles.

The line up on 'Crime Of The Century' is Roger Hodgson (vocals, guitar, keyboards and pianos), Rick Davies (vocals, keyboards and harmonica), John Anthony Helliwell (vocals, saxophones and clarinets), Dougie Thompson (bass) and Bob Siebenberg (drums and percussion). The album had also the participation of Christine Helliwell, Vicky Siebenberg and Scott Gornham (backing vocals) on 'Hide In Your Shell', an unaccredited and unknown street musician (musical saw) on 'Hide In Your Shell' and Ken Scott (water gong) on 'Crime Of The Century'.

While not properly a conceptual album, there is much recursion and referencing among the tracks. Lyrically, many of these tracks deal with themes of youth, isolation, loneliness and mental stability, leaving many to initially compare the group to Pink Floyd. So, we have education with 'School', dream with 'Dreamer', love with 'Rudy', shyness with 'Hide In Your Shell' or authority with the title track. However, the musicianship and style of Supertramp is obviously distinct, which has become evident over the past four decades. Every track is instantly recognizable as Supertramp, and the album, as a whole, runs together perfectly well, as we can expect from all the greatest albums.

'Crime Of The Century' has eight tracks. All songs were written by Hodgson and Davies. The first track 'School' has lead vocals by Hodgson and Davies. It's an amazing and fantastic song to open the album. I always loved this song, and as far as I can remember this was the first song I heard from the group. For me, it's one of the best songs composed by this fantastic duo. The second track 'Bloody Well Right' has lead vocals by Davies. It's the second song of the album released as a single, after 'Dreamer'. For the type of music of Supertramp, we may say this track is almost a hard rock song with a little funky rhythm. Despite be a very good song, this isn't one of my favourite songs on the album. The third track 'Hide In Your Shell' has lead vocals by Hodgson. This is without any doubt one of the highest points of the album, and consequently, it's one of my favourite songs too. This song is a real masterpiece of the melodic progressive rock with a supreme musical melodic structure. It's one of the best progressive melodic songs ever made. The fourth track 'Asylum' has lead vocals by Davies and Hodgson. It's an interesting and nice melodic song mostly performed on piano. It's a song very well composed with good orchestration, but like 'Bloody Well Right', isn't also one of my favourite songs on the album. The fifth track 'Dreamer' has lead vocals by Hodgson and Davies. It's the song chosen to be the hit single of 'Crime Of The Century'. It's an irresistible melodic song that became a big hit, reaching the top of the charts. Its impact was so big that we can say that 'Dreamer' was one of the most popular singles made by any progressive band. It only can be compared with 'Money' of Pink Floyd. It's the pop touching on the album. The sixth track 'Rudy' has lead vocals by Davies and Hodgson. It's another great song and it's the lengthiest too. It's one of the most progressive, sophisticated and elaborated songs on the album. It has rhythm changes and instrumental breaks, which makes of it a fantastic progressive track. The seventh track, 'If Everyone Was Listening' has lead vocals by Hodgson. It's probably the most melodic and beautiful song on the album. It has a light and easy listening tune and beautiful vocal harmonies. The orchestration is also really beautiful. It's the living proof that it's possible compose very beautiful songs with great quality. The eighth track is the title track, 'Crime Of The Century'. It has lead vocals by Davies. It's the song which closes the album, perfectly. This is another highlight on the album and it's also one of my favourite songs. For many, this is also its best track. It's the magnum opus of the album. It's a wonderful song with an orchestration completely divine. This is one of the best final tracks I've ever listen on any album. What a song!

Conclusion: As I said before, 'Crime Of The Century' was my first introduction to Supertramp. It's a great progressive melodic album where many of the songs have some complex structures with strong melodies. 'Crime Of The Century' is without any doubt one of the most progressive albums of the group and it's also one of their best musical workings. It's one of the landmarks of the 70's and is among some of the best progressive studio albums ever made. The sound of 'Crime Of The Century' just takes you into another world. It's one of the few albums I know that perfectly combines catchy songwriting with the epic darkness of the progressive rock music. I don't think any of Supertramp's other albums come anywhere close to this. I love some of their other stuff too, but there is just something special about this album. It isn't simply a progressive rock album. It's a piece of art. This is really why I like progressive rock music.

Prog is my Ferrari. Jem Godfrey (Frost*)

 IV by SISTER HELEN album cover Studio Album, 2017
3.91 | 3 ratings

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IV
Sister Helen Crossover Prog

Review by Tapfret
Collaborator Eclectic Prog Team

4 stars A Fond Farewell (...and hello for this reviewer)

When it comes to the amount of quality music out there, I find myself frequently quite late to the party. So is the case with Sister Helen's 2017 release Sister Helen IV. "How is somebody late to the party for a 2017 release?", you may ask. When its the first time you heard the band and it is the announced finale in the band's discography, that's how. In reviewing this act's history, these young artists started this project in their pre-teens and have had a run that has lasted more than half of their lives. Having no previous knowledge of the band, it turns out the finale is a great place to start the Sister Helen listening experience.

The first thing that sticks out in listening to Sister Helen IV, is this sounds like a band that is born of youth, even prior to knowing the ages of the performers. Not as an indictment of maturity or quality, but an intangible diffusion of energy throughout the songs. In fact, the maturity in thematic presentation is well beyond what one expects of any but the most educated of persons yet to reach a quarter century of life. Mental health, history, and interpersonal communication themes presented with a seemingly deep understanding. All wrapped in a frequently groove oriented package that is funky, punky and not shy of dissonance, but never far from resolution. Mix that with a strong affinity for styles and artist that well pre-date their birth, including direct lyrical quotes from Herman's Hermits and Sly & the Family Stone, and the package is very diverse and expressive.

At times the sound of Sister Helen IV fills me with nostalgia of the East SF Bay post-punk/quasi-avant nightclub scene of the early 90's. As a matter of fact, singer Nathan Campbell's voice is a dead ringer for Eskimo/Ebola Soup vocalist John Shiurba at his least silly moments. The instrumentation is heavy at times but nowhere near metallic, with the guitars usually overdriven but not grinding. If my ear serves, twelve-string is being used. Lots of expansive chords and tight breaks, all the while maintaining an organic small venue rawness. The overall sound reminds me of Smashing Pumpkins if they had decided to be interesting for some reason.

It is strange, this album has the sort of pop sensibility of song/album structure that I am typically not drawn to. But there is something extremely addictive about this album. Maybe its the interspersed complexity, maybe the energy and rawness, or perhaps something completely intangible. Whatever the case, its not so much a masterpiece, but I find myself listening to this album frequently since discovering it. Shame this appears to be the last material this band will produce. 4-stars.

 Gathering Speed by BIG BIG TRAIN album cover Studio Album, 2004
3.68 | 210 ratings

BUY
Gathering Speed
Big Big Train Crossover Prog

Review by stefano

3 stars I discovered Big Big Train with their CD "English Electric Part 1." I loved that one so much that I have been buying up everything I can find in their back catalog. I have found their older music to be very rewarding and enjoyable. Then I came across "Gathering Speed" and was a little disappointed. It just does not have the greatness of the other CDs like "The Difference Machine" or "The Underfall Yard." These songs are nice and I am glad I bought the CD. But that is much I far as I can go.
 The Difference Machine by BIG BIG TRAIN album cover Studio Album, 2007
3.64 | 272 ratings

BUY
The Difference Machine
Big Big Train Crossover Prog

Review by stefano

5 stars "The Difference Machine" revolves around three long songs of about 13 minutes each. Between these songs are very short songs that serve as breathing space. One of these short songs is actually called 'Breathing Space.' I think it takes guts to make a CD like this because if one of those long songs missed the mark than it would drag down the whole CD. But Big Big Train mange to do a fine job with the long tracks and they really go somewhere emotional. The CD lyrics are ambiguous. This is a concept album about chaos theory, a planet dying, and two lovers falling apart. I do not think that the ambiguity hurts the CD. Instead of being crystal clear the lyrics hint at the destruction that is about to happen. Two of the songs have the word 'hope' in them, 'Hope This Finds You' and 'Hope You Made It.' And the climax of the CD is the powerful 'Saltwater Falling on Uneven Ground' with the words 'Do you remember those summer nights? / The days without end exploding into fire.' But despite the word hope being used often, the tone of the music and the thoughtful lyrics are full of impending destruction and decay. The CD has this strong sense of yearning or longing to keep things the way they were, even singer talks about the planet exploding in fire. There are a whole bunch of guest musicians here and the make wonderful contributions. This CD has Sean Filkins singing lead vocals, not the band's new singer David Longdon just to be clear. But to my ear both singers are fantastic at what they do.
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Crossover Prog bands/artists list

Bands/Artists Country
17 PYGMIES United States
1974 United States
1O1 United States
3 United Kingdom
3 LEGGED MONSTER United States
3RDEGREE United States
7TH KIND United States
90 DAY MEN United States
A.L.F. Brazil
AARDVARK United Kingdom
AARDVARK' Finland
THE AARON CLIFT EXPERIMENT United States
ABACUS Germany
ABARAX Germany
ABBFINOOSTY United Kingdom
ABIOGENESI Italy
LEE ABRAHAM United Kingdom
ABSENTE H Spain
ABSINTHE JUNK United States
ACANTHE France
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
ALTERNATIVE 4 United Kingdom
ALUX NAHUAL Guatemala
AMAROK Poland
AMAZING MACHINE Norway
THE AMAZING Sweden
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
APOCALYPSIS Greece
APOGEE Germany
THE APPLE ZED United States
APPLESEED Poland
APPLESMELLCOLOUR Spain
AQUA TALK Turkey
AQUILA United Kingdom
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
ASTRONOMY United States
ASZENSION Canada
ATARAXIA Japan
ATIK MAZE Portugal
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AUDIAC Germany
AUDIO'M France
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AUT' CHOSE Canada
AUTOGRAPH (AVTOGRAF) Russia
AUTOMATIC MAN United States
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AUTUMN ELECTRIC United States
AUTUMN PEOPLE United States
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AUXFORD Russia
AVALON Canada
AVGRUNDEN Sweden
AVIARY United States
AMADEUS AWAD Lebanon
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AZURETH Multi-National
BACKHAND Venezuela
BAD DREAMS Argentina
BADWATER FIRE COMPANY United States
DAVE BAINBRIDGE United Kingdom
KEN BAIRD Canada
BAKU Germany
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
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BEAM-LIGHT Poland
DAVID BEDFORD United Kingdom
BEDUÍNOS A GASÓLEO Portugal
BELGRAD Poland
BEND SINISTER Canada
BENT KNEE United States
THE BENZENE RING United States
ROBERT BERRY United States
EMILY BEZAR United States
BIG BIG TRAIN United Kingdom
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BJÖRK Iceland
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THE BLACK LIGHT United Kingdom
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BORAY Sweden
LINDSEY BOULLT United States
TIM BOWNESS United Kingdom
BOX OF CRAYONS United States
THE BOX Canada
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VICTOR BRADY United States
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DR FOLAMOUR France
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DREDG United States
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EDEL Multi-National
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ELDBERG Iceland
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NICOLAS FIGUEROA Chile
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GROUP 309 Russia
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ID GUINNESS Canada
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ION United Kingdom
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