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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 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

4.31 | 1521 ratings
CRIME OF THE CENTURY
Supertramp
4.31 | 1268 ratings
OMMADAWN
Oldfield, Mike
4.30 | 1410 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.28 | 1977 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.22 | 946 ratings
DOOMSDAY AFTERNOON
Phideaux
4.19 | 1712 ratings
GRACE FOR DROWNING
Wilson, Steven
4.20 | 840 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.19 | 813 ratings
SNOWTORCH
Phideaux
4.18 | 994 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.17 | 778 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.17 | 714 ratings
THE UNDERFALL YARD
Big Big Train
4.16 | 530 ratings
~
Iamthemorning
4.15 | 363 ratings
SPIRIT OF EDEN
Talk Talk
4.29 | 110 ratings
SON
Obiymy Doschu
4.14 | 413 ratings
HOUNDS OF LOVE
Bush, Kate
4.10 | 1101 ratings
TUBULAR BELLS
Oldfield, Mike
4.12 | 577 ratings
NIGHT
Gazpacho
4.31 | 95 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.20 | 166 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.09 | 788 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train

Crossover Prog overlooked and obscure gems albums new


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

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

Latest Crossover Prog Music Reviews


 Capricorn / Berlin by BARCLAY JAMES  HARVEST album cover Singles/EPs/Fan Club/Promo, 1980
2.00 | 1 ratings

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Capricorn / Berlin
Barclay James Harvest Crossover Prog

Review by Matti
Prog Reviewer

— First review of this album —
2 stars In the late 70's Barclay James Harvest's waining popularity concentrated on continental Europe. Keyboardist Woolly Wolstenholme left the group which carried on as a trio of Lees, Holroyd and Pritchard, plus the session musicians such as Kevin McAlea. Eyes of the Universe (1979) is the first Woollyless album, but it's hardly much worse than its precedessor XII (1978). A more dramatic change in the style occurred with the next, disco-oriented album Turn of the Tide (1981) which sounds almost awful. Several songs from Eyes of the Universe were edited for possible singles. The two materialized singles were Les Holroyd's 'Love on the Line' and the John Lees composition 'Capricorn', the latter coming out in March 1980.

'Capricorn' is a decent song, not too commercial sounding but certainly not among the album highlights either. The chorus becomes a bit too dominant with its sharp guitar riffs. Roughly a minute shorter than the album version, as well it could have been edited with a heavier hand without losing anything crucial.

The B-side song 'Berlin' is taken from the XII album. Written by Holroyd and inspired by the wall dividing the city in two, the song is one of the many emotionally strong BJH ballads of this era. Piano/synth centred arrangement has the lush orchestral feel typical for BJH prior to Wolstenholme's departure.

2½ stars rounded down.

 Planetary Overload, Part 1 - Loss by UNITED PROGRESSIVE FRATERNITY album cover Studio Album, 2019
3.63 | 21 ratings

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Planetary Overload, Part 1 - Loss
United Progressive Fraternity Crossover Prog

Review by Jeff_the_GlassCaster

4 stars United Progressive Fraternity (UPF) ' Planetary Overload ' Part 1 ' Loss

It has taken me several listens to write this review. Reason? Mostly because the issues addressed on this album are very close to my heart and I wanted to keep that from clouding my opinion. Also, because unlike beer or wine, music must be luxuriated over thru some time to be truly appreciated. That said ' I LOVE this album and can hardly wait for Part Two. For those of you who are familiar with my reviews of music, craft beer and food you know that when I mention my darling wife (The Lovely Miss B) in these reviews it is a rarity. She only gives her opinion when she is really moved. She loved most of this and liked the rest. This is not a band, rather a project conceived by Mark 'Truey' Trueack telling the story of our environmental crisis. He partners with Steve Unruh and a host of wonderful musicians to form this version of the UPF The opening sequence ' 'Dawning on Us' pulls you in with the haunting sounds and guest voice cameo's speaking of the state of Mother Earth and drags us the rest of the way with Jon Davison's (Yes) voice moving gracefully into Steve Unruh's flute'. At this point you are committed. Perhaps one of the things I love most about this album is that the lyric continually reminds us that there IS hope. When Truey and company move into the ballad 'Cruel Times' the lyric that stood out instantly for me was 'there is hope in everything we do, let's stand together in the face of gloom'. The backing harmonies from Lisa Wetton and Hasse Froberg along with Steve's violin makes for a dreamy song which transitions into an orchestration that could only move into ---- 'What Are We Doing to Ourselves' ' short, Caribbean and honest'' Intense and dramatic, 'Stop Time' is a pivotal point in this piece. I found it moving and the steppingstone for what was to come'. 'One More' ' this is the point of no withdrawal in this artistic work ' you are now hooked. Truey's vocal and Steve's violin and guitar give a gentle power to the lyric. Listen and you will understand. It only gets deeper from here. Now we come to 'Mercenaries' ' an appropriately heavy song at this point in the piece. This moves into >>>> 'What If ' >> 'Forgive Me, My Son' ' No matter what your social or political belief, if this does not touch your heart'.. well, I just don't know. The lyric is almost too simple'.. until you hear the young Brodie Byrne ask 'Father, what are we doing to ourselves?' You are now so far deep down the rabbit hole that is Planetary Overload that you just melt back into your chair. I promised myself that I would not break down this review song by song, but it just seemed to deserve this kind of attention. For me, the next song, 'Dying to be Reborn' is a weak spot on the album. I anticipated ' I'm not sure what ' this was not it. Not that I dislike it, this is a good song, just that it seems to not quite fit. Now we get to the ambitious 'Seeds for Life'. I fell in love with this symphonic epic the moment I first heard it. At first, I thought that my own current journey (small scale market farming) was heavily influencing my love of this song. After at least a dozen listens I know that has little to do with how much I enjoy this aural extravaganza. 'Seeds for Life' has the largest cast of the Fraternity in it and it shows. Progressive music in its truest sense. From start to finish this opus flows and moves the audience. It also shows off the virtuosity of the musicians and the musical composition accentuates the importance of the lyric. The song ends with a beautiful classically inspired Steve Hackett guitar solo that (sonically) could have ended the album, Except''. 'Loss to Lost' seems like the better way to end the album. It builds to give hope for tomorrow and a call to action ' 'Let's turn it all around. Let's find a solution. We can find hope. Hope is what we need.' This also sets us up for the much-desired volume 2. All that in one disc'.. but wait, there's more! The bonus disc is in no means an afterthought. The Romantechs: Reimagine are Christophe Lebled, Mark Trueack and Steve Unruh (along with several UPF players) doing alternative versions of UPF and Unitopia songs. A great bonus. In general, I found this album a wonderful listen. While the lyric could have been stronger at times, I understand the need to NOT chase people away from such heavy and important subject matter. The lyrics are clear and easy to understand. The music is moving. I anxiously await Part Two. Oh, let's not forget the wonderful artwork by Ed Unitsky as well - adding such a wonderful visual component is a wonderful finishing touch.

 Vanity Project by INFICTIONS album cover Studio Album, 2018
4.04 | 7 ratings

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Vanity Project
InFictions Crossover Prog

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

4 stars This is another issue of delay, being on my review list for some months. But now I took the time once again. Yeah, it's definitely worth it, still. Not knowing them hailing from the UK, I most probably would swear that INFICTIONS will be a scandinavian outfit. Headed by Ed Cartledge, also noted as the key figure of the band Early Cartographers, this Vanity Project delivers heartfelt compositions all the way through. What means a somewhat nordic melancholic, empathic sound, more in the vein of Gazpacho, Oak, skillfully combined with some post rocking outbursts. The band's core is also consisting of bass player Gareth Hughes, Tom Chaffer on the second guitar and drummer James Fosberry, all not related with his other aforementioned band, for what I know. But some guest musicians are at least, on the other hand.

Except some piano input the keyboards are having a minor role, the focus is on the guitars and vocals moreover. The album's song collection, consisting of 10 tracks, comes as a magnificent string of pearls, provided with heart and mind. Charming art rock singer/songwriter moments are alternating with heavier moments, while Cartledge is equipped with a fantastic singing voice. There is a lot going on in these meadows in general. This album is exceptional, ranks high, no question. Thematically related to environmental issues, quite obvious just when considering the song titles. When thinking of other stylistically related bands Pineapple Thief, Radiohead, Crippled Black Phoenix are coming into my mind too.

 Todd by RUNDGREN, TODD album cover Studio Album, 1974
4.09 | 82 ratings

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Todd
Todd Rundgren Crossover Prog

Review by Warthur
Prog Reviewer

5 stars This is where Todd Rundgren clicks for me. On this double album he takes the power pop ballad style of Something/Anything and the rampant experimentalism of A Wizard. A True Star and attempts to reach a balance point between the two. In the end, I suspect Todd's instincts lie more in the progressive direction than pop, with the end result being just as expansive a stylistic smorgasboard as the preceding album - but this time around, all the different musical ideas are given just enough room to breathe whilst still being kept disciplined enough to prevent them outstaying their welcome. Delightful stuff.
 Out to Sea 2 by PERDOMO, FERNANDO album cover Studio Album, 2019
2.61 | 6 ratings

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Out to Sea 2
Fernando Perdomo Crossover Prog

Review by kev rowland
Special Collaborator Crossover Team

2 stars Fernando's 2019 release is a sequel to the album before last, 'Out To Sea', with the artwork also being very similar indeed. There are fifteen studio songs, where for the majority Fernando provides all the music, although there are a couple of guests here and there, while the last two songs are live versions of songs which appeared on the original album. Overall this is a really well-recorded instrumental album, with guitar front and centre, but the songs seem to follow a similar format throughout, with the lack of spark and imagination one would want from someone who is obviously so gifted. It is not a bad album as such, but it doesn't contain that element which repays repeated listening. The songs are generally quite short, with few stretching to four minutes, so he tends to keep things choppy and hard and keeps them concise and tight as opposed to letting them breath and stretch out. When he lets himself develop material then it starts to get interesting, but the overall feel is that this is a safe album in many ways, one which will please his fans but probably not gain him many new ones. Some, such as "Theme From 'Dr Leisure'" should have been left in the studio, as it is just to twee and repetitive to be of interest. I am sure if I knew the original, I would find it to be a marvel, but to me it sounds like cinema advert music which probably isn't what he was going for. Of his two most recent albums I know which one is going to get far more play, and it isn't this one.
 Zebra Crossing by PERDOMO, FERNANDO album cover Studio Album, 2018
3.90 | 2 ratings

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Zebra Crossing
Fernando Perdomo Crossover Prog

Review by kev rowland
Special Collaborator Crossover Team

4 stars In 2018 Perdomo had the opportunity to fulfil a lifelong dream, while in the UK touring with Dave Kerzner he was able to book some time Abbey Road Studios and deliver a homage to The Beatles (with plenty of Todd Rundgren and ELO along the way, at their most Beatlesque). He is renowned as a hard-working musician for hire, running his own label, and playing alongside the likes of Dave Kerzner and Jakob Dylan in their bands. Here he has collaborated on songs with Zak Nilsson (son of Harry), Cyndi Trissel and Beach Boys lyricist Stephen Kalinich. This is Sixties power pop, combining with Seventies attitude and modern-day recording techniques and production to deliver an album which is impossible not to enjoy from beginning to end. As is expected, Fernando provides virtually all music and vocals, although he is joined by Danny Ayala, Megan Zeankowski and Ken Sharp on 'Find Love (Hold On)' which was the initial single. One of the joys of this is the way it takes the listener back in time, yet is timeless as well, and the wonderfully layered strings provides a classic feel to the proceedings.

In many ways the album feels as if it is leading us to the last song, 'While My Guitar Gently Weeps'. Apparently, the day Fernando went into the studio it was the fiftieth anniversary of when the band started recording the song, so he just had to do a version. This has a whole host of guests involved, with layered vocals, plenty of old-time piano and strident guitar. It may not beat the all-time classic version (by Yellow Matter Custard of course) but is a bloody fine way to end the album. This may not be the progressive workout which may have been expected by some, but is a bloody fine album for all that.

 Rated PG by GABRIEL, PETER album cover Studio Album, 2019
3.09 | 4 ratings

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Rated PG
Peter Gabriel Crossover Prog

Review by admireArt
Prog Reviewer

3 stars As for the "Record Day" special releases this 10 track: Rated PG (2019) was Peter Gabriel´s offering.

A compilation of songs written or co-written, or only performed but not penned by him (That'll Do written by Randy Newman & The Book of Love written by Stephin Merrit), specifically for some movie projects, except of course the world wide famous - In Your Eyes- which was already published in his So (1986) but previously unreleased in this film version.

The good news is that some of these tracks see the light for the first time beyond their respective soundtracks and all of them can stand alone without their movie context and they also work together as a kind of best hits album. The not so good news is that not all of them are essential and the bad news is a couple of expendable ones.

To set this compilation in one of the sonic fields he has sow through his career, as a public service, I could connect it directly to his So/Us years.

What is good is good but as an album it is really not essential.

***

 Close To The Fire by KAYAK album cover Studio Album, 2000
3.77 | 88 ratings

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Close To The Fire
Kayak Crossover Prog

Review by TCat
Prog Reviewer

3 stars My first encounter with Kayak was when I went to the record store way back when, and asked the clerk if there was anything new and interesting and he suggested Kayak's "Phantom of the Night". It ended up becoming one of my personal favorites back then, but especially because of the emotional tracks more than the upbeat ones. "Daphne (Laurel Tree)", "Phantom of the Night" and "Ruthless Queen" became songs I loved to sing out loud. After 1981 however, they suddenly dropped off the face of the Earth and I always wondered what happened to them. When I joined up on this site several years back, I was quite surprised to see they were alive and kicking again, so I started to check out some of their newer albums.

Kayak was one of those bands that played pleasing progressive rock and formed their band back in 1973, releasing some decent and accessible prog albums through the 70s. Then, after the release of "Merlin" they split up around 1982, and not much was heard about them for several years. Two of the band's founders, Ton Scherpenzeel and Pim Koopman decided to start working on some new material, but without intending to release it as Kayak, until Max Warner, the band's original lead singer, decided to have a go at the new lyrics to the new songs. When that experience ended up being positive, they decided to bring the band back together, at least with most of the same line up they had for the album "Royal Bed Bouncer". Thus, "Close to the Fire" released in the year 2000, was born. Even though Warner didn't want to continue past this, Scherpenzel and Koopman decided to continue on. The band is still putting out occasional albums and making top-notch crossover prog, however, only Scherpenzeel is the sole original member.

The music on this album still has that accessible Kayak sound that made them popular in the Netherlands and made them well known internationally. The big difference is that the album gives the band an updated sound, as if they were never even gone for several years. There are upbeat tracks and slower ballads, just like their fans expected from their previous albums, but the music has a slight edge that gives them their progressive status, though it definitely isn't what you would call heavy prog by no means, yet it is still a cut above the standard fare with emotional guitar solos, excellent keyboard and synth hooks and the occasional quirkiness.

Don't expect anything groundbreaking here however. There is really nothing astounding here either. The music is pretty safe, nothing really challenging, it just rides the line between power pop and light progressive music. As in the past, there are some nice guitar melodies, synth solos and a variation of tracks from slow ballads to moderate flowing melodies to upbeat and happy songs, with a slight touch of progressive sensibilities just to keep things somewhat interesting, but nothing that demands complete attention. They are songs that you can be inclined to sing along with, but, as was the case with "Phantom of the Night", nothing that will really etch itself into your psyche or soul. It's good, but it's also quite easy to listen to, so it's lasting power is doubtful. There are a couple of things of interest here, namely that "Full Circle" has a guitar solo from guest Adam Latimer of "Camel", and that the last track is a reimagining of one of Kayak's classics from the "Phantom of the Night" album, the song "Ruthless Queen" sung by guest Syb V.D. Ploeg.

In the end, it is good to hear their soft prog return, but more heart and soul will be required to produce an album that will leave an impact. Close to the Fire is a good 3 star album, but nothing that will help the band become progressive superstars.

 Grand Tour by BIG BIG TRAIN album cover Studio Album, 2019
4.26 | 56 ratings

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Grand Tour
Big Big Train Crossover Prog

Review by TCat
Prog Reviewer

4 stars The band "Big Big Train" has been around for quite a while, has gone through a lot of line-ups, and is quite well known world wide as one of the most famous crossover prog band around. Greg Spawton (bass, guitars, keyboards) and Andy Poole were the co-founders of the band that started (officially) in 1990. Both members would remain with the band until 2018, when Andy departed from the group, leaving Spawton the only original member remaining.

In May of 2019, the band released their 12th full length album called "Grand Tour". This album consists of all original music, where their previous album contained re-worked songs from previous albums. Even though the title "Grand Tour" seems to suggest a live album, it is not. There are 9 tracks on this album, 3 of which are multi-part suites, and the total run time is just over 74 minutes, so it's jam packed with music. The line up for this album consists of Greg Spawton (the only original member as mentioned before) on bass, bass pedals, acoustic guitar and backing vocals; David Longdon (a member since 2009) on lead vocals, flute, additional keyboards, mandolin, and guitars; Dave Gregory (joined in 2009) on guitars; Rikard Sjoblom (joined in 2015) on keyboards, guitars, accordion and backing vocals; Danny Manners (joined in 2012) on keyboards and double bass; Rachel Hall (since 2015) on violin, viola, cello, and vocals; and Nick DVirgillo (since 2009) on drums, percussion and backing vocals. The concept of the album is explained in a thick booklet that comes with the album.

"Novum Organum" starts the album off with a short introductory track. Tonal percussion establishes a moderate pattern with piano and Gabriel-like vocals. The track builds in passion and intensity as other instruments are added in. "Alive" is much more upbeat as synths and keyboards bring in the full band. This track has a much more positive attitude with a basic rhythm and nice harmonization on the chorus with the vocals. The instrumental break approaches a more progressive feel mostly led by guitars and layers of keyboards. "The Florentine" is the first of the longer tracks at 8 minutes. The track centers around Leonardo DaVinci. It begins rather simply with acoustic guitar, mandolin and harmonized vocals. The track has a slightly more complex sound and harmonies build as more voices are added. On the first instrumental interlude, we get a violin that leads the way into a rhythmic change and the continues until the voices come back in. The overall sound of the track remains open and spacious, the emphasis on the layered vocals. The Moog takes over for a cheery solo and then gives up the spotlight to the guitar. The sound becomes symphonic as it continues with choral effects and the apex of a crescendo, then it descends from its climax and slows down quite a bit until the ending.

"Roman Stone" is the first multi-part suite (5 sections) and lasts over 13 minutes. A soft guitar and viola bring in the vocals, again sounding very much like Peter Gabriel, but doing it very convincingly. The subject of this track deals with the rise and fall of the Roman Empire. A moderately slow rhythm gives into a somewhat stately sound and a non-traditional song structure, cementing BBT's reputation of being a true Neo-prog style band. To chronicle the entire early Roman history is quite an undertaking for a 13 minute track, but the lyrics are quite rich and things don't really get that cliché and it stays quite believable throughout. Solo and harmonized vocals interact with each other, the song builds beautifully as it reaches the middle, then it quiets as a brass section comes in (where did that come from?). Soon flutes are also added with some piano flourishes, and the individual instruments build in harmonic lines as the drums get more frantic giving us a very nice orchestral feeling. After this, things slow down with a simple viola and voice again, as in the beginning as the vocalist contemplates the fall. This long track is as epic as you expect it to be, with a satisfying ending that ties up the entire track.

The next track "Pantheon" is an instrumental composed by Nick D'Virgilio and his first solo composition for Big Big Train. The combination of strings and brass backed by synths signals that this is going to be good. The drums come in and the brass carries the melody as guitar and synths back things up. After playing the theme, things start getting more complex as the flute come in copying the synth, violin then plays a solo with guitars increasing intensity. All of these instruments work together surprisingly well with a slightly atonal sound just to keep things a bit unsettling, but not overbearingly so. It's quite a nice instrumental with a lot of dynamic, start/stop passages and interesting melodies. "Theodora in Green and Gold" is a more basic song and is based on a mosaic of the Empress. It's a piano-led ballad style, but with an interesting vocal melody. Some of the lead vocals are done by D'Virgilio, hence the differences in vocal timbre in the middle part of the song.

The 2nd multi-part suite "Ariel" comes next. This track has 8 sections to it and lasts over 14 minutes. It's story combines both fact and fiction. The beginning is a simple synth and vocals, solo and harmonized. The sound is quite mournful and sparse. Deep guitars join in supporting the vocal melody with deep notes. A piano and sparse effects begin and more vocals bring in the next section and solo and harmonized vocals work interchangeably. The song moves to a more stately attitude as drums join in. The track continues to develop and build slowly backed by some lovely violin and piano passages. Suddenly, a solid hook is developed with vocals backed by solid guitar. Things get more epic as more string and guitars get the blood boiling, and then it all mellows out again and vocals establish a new melody. The emotional singing and dramatic feel of the track should help this one go down as a favorite in the BBT catalogue. The melody does not follow any real typical structure, but tell it's story quite effectively with a more complex sound. The music builds, thunder effects and a heavy symphonic feel brought on by synths and guitar build everything back up again to quite a lovely peak before it all returns to the more minimal feel of the beginning, returning to the initial melody.

After an epic track like this, what else can you do but follow it up with another epic 14 minute 7-part suite? "Voyager" takes the similar named space vehicle as it's subject. This one begins almost immediately with a full band sound, but at a moderate tempo. It again utilizes solo and harmonized vocals to tell the story, this time, however, backed by brass and the full core band. The vocals are quite emotional and expansive, the brass and cello give it a somewhat lonely and pensive feel when the percussion stops for a while. Drums eventually come back in hesitantly as the violin plays and brings in more vocals. Just before 7 minutes, things become very epic and symphonic as layers of instruments turn this into an orchestral style, becoming very dynamic and then slipping into a suddenly progressive beat and crazy synths and guitars build this into quite a production. Tempos, meters and styles change, and then back off a bit as more vocals come in. By the closing section, things have reached another apex as emotional vocals and instrumental passages build to a climax and then cool off with a piano- led ending.

The last track here is "Homecoming" and starts soft and pensive, like the beginning track, that then suddenly slips into a jazzy style with choppy piano chords and a guitar and violin building up excitement for an amazing and lovely finale. The brass comes back in, the guitars have their last say, and everything comes to a nice end.

This album should go down as one of the band's best. The orchestration is excellent, the vocals are top-notch and emotionally charged, the music is mostly complex and every musician here gets many chances to shine throughout the album. The feel of the album is somewhere between Neo-prog and Symphonic prog, most of the tracks support the progressive claim that the band has as being one of the most well-known and capable bands in progressive music these days, and they prove that quite well in this album. Even with the many changes that the band has experienced, the current line-up is made up of excellent musicians and they sound as if they have been playing together from the beginning. The subjects here are quite epic, and it might seem a little over-ambitious, but the actual theme of the album is rooted in the journey of mankind, so you should expect some heavy subject matter here, however the band handles it all well and somehow stays away from being cliché and are able to stand up to the subject material. This is not only an album that the band's fans and progressive fans should love, but should win over new fans when they put some time into it. Overall, it almost reaches 5 star status, and after more listening, it might come to that, but as far as an early review for the album goes, I can easily say that it is a strong 4 star album, but it is one that I will come back to for reconsideration often.

 Amazingous by CHEETO'S MAGAZINE album cover Studio Album, 2019
4.12 | 67 ratings

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Amazingous
Cheeto's Magazine Crossover Prog

Review by admireArt
Prog Reviewer

3 stars Following my personal quest of reviewing this year´s albums.... Cheeto's Magazine-Amazingous (2019)

I found its choral and songwriting sound in general closer to Queen´s, if Queen played alongside a kind of Rick Wakeman clone and had an average good voice frontman and came from the USA or really liked Quiet Riot or any of those 80´s bands and were Infected with the "Hard/Metal Rock Corny Ballads Syndrome" (as Queen was or any of those groups were and the "Cape-Man" himself is) and yes had some loving for Zappa´s vocal canons and humor.

Well what can I say? This release has some enjoyable sections, if not truly original or really humorous beyond the usual vocal quirks cliches, they play well with their influences. Problem is I am not a die hard Queen, Quiet Riot (or Def Lepard or any of those 80´s groups) or Rick Wakeman fan and less a corny ballads (irreverent or not) admirer, therefore this work really does not tick my bomb.

As far as comedy goes I do prefer Richard Pryor he really makes me laugh.

***3 PA stars

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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
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
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
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
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