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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 | 1471 ratings
CRIME OF THE CENTURY
Supertramp
4.31 | 1233 ratings
OMMADAWN
Oldfield, Mike
4.29 | 1332 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.29 | 1898 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.22 | 919 ratings
DOOMSDAY AFTERNOON
Phideaux
4.20 | 1672 ratings
GRACE FOR DROWNING
Wilson, Steven
4.20 | 807 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.19 | 782 ratings
SNOWTORCH
Phideaux
4.17 | 970 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.17 | 755 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.18 | 514 ratings
~
Iamthemorning
4.17 | 696 ratings
THE UNDERFALL YARD
Big Big Train
4.35 | 91 ratings
SON
Obiymy Doschu
4.13 | 566 ratings
NIGHT
Gazpacho
4.10 | 1076 ratings
TUBULAR BELLS
Oldfield, Mike
4.13 | 392 ratings
HOUNDS OF LOVE
Bush, Kate
4.21 | 160 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.32 | 88 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.13 | 340 ratings
SPIRIT OF EDEN
Talk Talk
4.19 | 163 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers
4.08 | 770 ratings
ENGLISH ELECTRIC (PART TWO)
Big Big Train
4.12 | 338 ratings
ONES & ZEROS - VOLUME 1
3RDegree
4.31 | 82 ratings
INFERNAL
Phideaux
4.10 | 360 ratings
TO OUR CHILDREN'S CHILDREN'S CHILDREN
Moody Blues, The
4.12 | 264 ratings
ACT I: THE LAKE SOUTH, THE RIVER NORTH
Dear Hunter, The
4.09 | 400 ratings
PASSION - MUSIC FROM THE LAST TEMPTATION OF CHRIST
Gabriel, Peter
4.20 | 123 ratings
ONES & ZEROS - VOLUME 0
3RDegree
4.11 | 249 ratings
THE HEMULIC VOLUNTARY BAND
Ritual
4.06 | 543 ratings
AMAROK
Oldfield, Mike
4.04 | 913 ratings
OK COMPUTER
Radiohead
4.33 | 68 ratings
TIME
Time
4.21 | 110 ratings
MODRA RIJEKA
Indexi
4.14 | 166 ratings
SECRETS OF THE BEEHIVE
Sylvian, David
4.09 | 272 ratings
THE DREAMING
Bush, Kate
4.07 | 381 ratings
WAR AND PEACE & OTHER SHORT STORIES
Filkins, Sean
4.07 | 336 ratings
PAMPERED MENIAL
Pavlov's Dog
4.09 | 245 ratings
HAIR IN A G-STRING (UNFINISHED BUT SWEET)
Tench Project, Colin
4.07 | 335 ratings
CORVUS STONE II
Corvus Stone
4.13 | 165 ratings
SHINY EYED BABIES
Bent Knee
4.08 | 247 ratings
QUICKLY QUICKLY QUICKLY
Tea Club, The
4.04 | 481 ratings
TICK TOCK
Gazpacho
4.03 | 625 ratings
TALES OF MYSTERY AND IMAGINATION
Parsons Project, The Alan
4.06 | 303 ratings
SHINE ON BRIGHTLY
Procol Harum
4.03 | 526 ratings
NUMBER SEVEN
Phideaux
4.06 | 258 ratings
EL CIELO
Dredg
4.06 | 279 ratings
FOR YOUR PLEASURE
Roxy Music
4.08 | 205 ratings
AS FAR AS THE EYE CAN SEE
Sunchild
4.04 | 303 ratings
RETURN TO OMMADAWN
Oldfield, Mike
4.16 | 107 ratings
THE GNOMON
Sunchild
4.04 | 282 ratings
ROXY MUSIC
Roxy Music
4.03 | 360 ratings
LUNATIC SOUL
Lunatic Soul
4.03 | 288 ratings
ACT IV: REBIRTH IN REPRISE
Dear Hunter, The
4.31 | 55 ratings
APOCALYPSE OF THE MERCY
Bad Dreams
4.03 | 268 ratings
ACT III: LIFE AND DEATH
Dear Hunter, The
4.01 | 408 ratings
MARCH OF GHOSTS
Gazpacho
4.28 | 57 ratings
VEIL OF GOSSAMER
Bainbridge, Dave
4.03 | 261 ratings
ACT II: THE MEANING OF, AND ALL THINGS REGARDING MS. LEADING
Dear Hunter, The
4.00 | 363 ratings
WALKING ON A FLASHLIGHT BEAM
Lunatic Soul
4.01 | 302 ratings
LIGHTHOUSE
Iamthemorning
3.98 | 540 ratings
UP
Gabriel, Peter
4.04 | 186 ratings
GRAPPLING
Tea Club, The
4.01 | 262 ratings
GHOSTS
Frequency Drift
4.09 | 120 ratings
VIER
Perfect Beings
4.04 | 174 ratings
CINEMATIC
Lebowski
4.02 | 219 ratings
THE LONG DIVISION
3RDegree
4.47 | 33 ratings
PEVNINA DETSTVA
Ursiny, Dezo
4.12 | 96 ratings
EGO, GEORGIUS
Antczak, Jerzy
4.03 | 178 ratings
STRANGER HEADS PREVAIL
Thank You Scientist
3.97 | 547 ratings
EVEN IN THE QUIETEST MOMENTS ...
Supertramp
3.98 | 374 ratings
GRIMSPOUND
Big Big Train
4.14 | 83 ratings
BLUE JAYS
Hayward & Lodge
3.96 | 494 ratings
FOLKLORE
Big Big Train
4.26 | 51 ratings
CHROMIUM
Talisma
4.05 | 131 ratings
THE DOWNWARD SPIRAL
Nine Inch Nails
4.24 | 54 ratings
SELECTIVE MEMORY
Témpano
3.95 | 726 ratings
KID A
Radiohead
4.03 | 159 ratings
ENOUGH BLAME TO GO AROUND
Disconnect
3.99 | 245 ratings
LAUGHING STOCK
Talk Talk
4.27 | 48 ratings
Автограф / AUTOGRAPH
Autograph (Avtograf)
3.94 | 668 ratings
BREAKFAST IN AMERICA
Supertramp
3.99 | 209 ratings
CORVUS STONE UNSCREWED
Corvus Stone
4.03 | 133 ratings
KAYAK II [AKA: ALIBI]
Kayak
3.93 | 563 ratings
PETER GABRIEL 4 [AKA: MASK OR SECURITY]
Gabriel, Peter
4.11 | 79 ratings
ANCHOR DROPS
Umphrey's McGee
4.12 | 76 ratings
CIVILISATION
Southern Empire
3.96 | 258 ratings
NEVER FOR EVER
Bush, Kate
3.99 | 185 ratings
BROKEN CHINA
Wright, Richard
3.93 | 555 ratings
HERGEST RIDGE
Oldfield, Mike
4.25 | 45 ratings
LIL' BEETHOVEN
Sparks
3.93 | 451 ratings
AMUSED TO DEATH
Waters, Roger
4.03 | 111 ratings
AND THE GLASS HANDED KITES
Mew
3.94 | 294 ratings
THE KICK INSIDE
Bush, Kate
4.17 | 55 ratings
D'APRČS LE HORLA DE MAUPASSANT
Box, The
3.92 | 427 ratings
INCANTATIONS
Oldfield, Mike
3.97 | 171 ratings
AS YOUR MIND FLIES BY
Rare Bird
3.95 | 218 ratings
NEW WORLD (DELUXE EDITION)
Kerzner, Dave
3.95 | 221 ratings
ACT V: HYMNS WITH THE DEVIL IN CONFESSIONAL
Dear Hunter, The
4.07 | 85 ratings
TONY PATTERSON: EQUATIONS OF MEANING
Tony Patterson & Brendan Eyre
4.00 | 135 ratings
NO TENGAS MIEDO
Kant Freud Kafka
4.18 | 51 ratings
EL FIN DE LA INFANCIA
Témpano

Crossover Prog overlooked and obscure gems albums new


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

CONQUISTA
Alux Nahual
ONE OF SEVERAL POSSIBLE MUSIKS
Livgren, Kerry
GLOSSOLALIA
Walsh, Steve
BROKEN CHINA
Wright, Richard

Latest Crossover Prog Music Reviews


 What We Have Sown by PINEAPPLE THIEF, THE album cover Studio Album, 2007
3.85 | 217 ratings

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What We Have Sown
The Pineapple Thief Crossover Prog

Review by sgtpepper

4 stars The previous album marked already a small but confident return to the good old shape.

The album starts with an upbeat and not too pessimistic opener. "Well I think that's what you said" is one of the album highlights, offers a great melody, emotiona vocal, a good drumming pattern and a post-rock instrumental section. No wonder that "Take me with you" belongs to the favourite songs by PT by some PT fans - it is very melancholic, musically and lyrically accessible. The chord progression drew my attention for the very first time and stayed in my mind for a long time.

"West wind" is a track that will please all progheads - instrumentally driven, kudos to the drummer for changing the landscapes together with the guitar. The last 27-minute epic track is an excellent addition to the album - there is enough space for each musician to stretch out. Mostly mellow but also getting louder in the second part, it is well worth exploring. One of the best albums by PT and contains enough elements for Crossover Prog to obtain 4 stars.

 10 Stories Down by PINEAPPLE THIEF, THE album cover Studio Album, 2005
3.26 | 93 ratings

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10 Stories Down
The Pineapple Thief Crossover Prog

Review by sgtpepper

2 stars 10 stories down is arguably the least progressive album from Pineapple Thief. The mood stays melancholic and introspective. Clapham has a decent melody and flair. Wretched Soul balances between cresciendo alternative rock and mellow part. Start your descent is an acoustic track with guitar and violin which does not progress much. I will light up your eyes might look promising with its 7 minutes, however there is not much going on and it is a repetitive track. The last regular track Who will light up your eyes does not shine with ambitions either: it has a calm start and a repetitive motive in the end. Overall, this album should have been shorter as there are not as many ideas as on other PT albums. The bonus tracks are worth hearing but certainly not necessary.
 Bad Witch by NINE INCH NAILS album cover Studio Album, 2018
4.00 | 2 ratings

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Bad Witch
Nine Inch Nails Crossover Prog

Review by TCat
Prog Reviewer

4 stars The 2018 album from Nine Inch Nails was originally intended to be the third EP in a series, the first being 'Not the Actual Events' and the 2nd being 'Add Violence'. Trent Reznor decided to make this one an LP because he felt that EPs tend to get overlooked. So, this last album in the series, 'Bad Witch', was ultimately developed into an album. The only problem is, and it turns out to be the biggest problem of this album, is that it is way too short at only 30 minutes. The positive thing about it that proves it is a great album, is that you want it to be longer, instead of being glad it is over.

The album is a lot more experimental and progressive than the other recordings in the series. This works to Reznor's and Ross' advantage and creates a very dynamic and varied album, but it could have been so much more than this if there were more songs on it.

'Sh*t Mirror' starts things off with the usual industrial sound with processed and regular vocals. It has a nice industrial build at the end and retains it's intensity throughout. Ian Astbury from 'The Cult' does some guest vocals on this track.

'Ahead of Ourselves' has a nice driving beat with a rapid fire beat. The vocals are all pretty much processed in this one, but it is still the sound you expect from Trent, exciting and intense.

The next track is instrumental. 'Play the G*dd*mned Part' utilizes a saxophone, but it isn't blaringly apparent, but more of a sound layer in the noise mix. It does increase in volume as the track continues until all of the background noise stops and a very dissonant chorus of layered saxophones play against each other. This track is brilliant and even approaches experimental avant-prog. It's good to hear Reznor's brilliance shining through again.

'God Break Down the Door' again utilizes a dissonant sax with another rapid beat. This track is very reminiscent of the music on the 'Blackstar' album by David Bowie, and this is actually intentional as Reznor admits to the inspiration. It is another great track and even with its inspirational source, it still manages to keep that industrial feel.

'I'm Not From This World' is surprisingly another instrumental. This one also surprises since it is an ambient track that is also experimental and utilizes multi-note drones and effects. NIN make themselves current by experimenting with this style and incorporating industrial rock with new methods.

'Over and Out' is made up of layers of music, vocals and sound that increase in intensity as it continues Again, it is not what you would expect from NIN's typical sound, but it goes in the right direction. This is also reminiscent of later Bowie music, with loops and layers flowing around each other and then finally fading to a high drone.

It's good to hear NIN get experimental again and more progressive as was the case in the 'Ghosts' album. This could have easily been another 5 star album for NIN if it was longer, but it woefully ends too soon. But hopefully it is an indication of where Reznor plans on taking NIN's music.

 Variations On A Dream by PINEAPPLE THIEF, THE album cover Studio Album, 2003
3.19 | 141 ratings

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Variations On A Dream
The Pineapple Thief Crossover Prog

Review by sgtpepper

2 stars Another step in the development of the band's sound - even less progressive elements and trying to sound like an alternative pop/rock band with touches of melancholy (Porcupine Tree/Radiohead) and some mellow Smashing Pumpkins vocals thrown in. After the first two dreamy tracks comes a more experimental one - "Vapour trails". There are different parts of the song although it can technically still not be called a prog composition. "Run me through" is the most obvious SP nod here, it wouldn't be out of place on the first album. The bitter pill is once again a song close to Radioheat. More interesting track is the instrumental "Resident Alien" with acoustic piano and guitar. "Sooner or later" is one of the catchies songs on the album and offers also dark instrumentation. "Remember us" has all good traces of Pineapple Thief - gorgeous melody, instrumental sections, loose playing and strong atmosphere.

This album is recommended to all Crossover-Prog fans but the majority of the progheads might be disappointed to miss progressive elements.

 Abducting The Unicorn [Aka: Abducted At Birth] by PINEAPPLE THIEF, THE album cover Studio Album, 1999
3.41 | 73 ratings

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Abducting The Unicorn [Aka: Abducted At Birth]
The Pineapple Thief Crossover Prog

Review by sgtpepper

3 stars Once you start listening to the first song, you ask yourself: haven't I heard this band already before or something sounding similar? Yes, Smashing Pumpkins is the greatest influence here on almost all musicians - singing, drums and guitar. Most songs have similar drumming pattern which I really like. The voice is loud but not anger-driven. There are also touches of electronica and it is clear that the band knows how to use them delicately with the rock. Fortunately, there are also moments to calm down and relax, the instrumental passages bring more introspective atmosphere that is not otherwise felt on this debut album. A good album but non-essential and unlike any other following album.
 Counterpoints by ARGENT album cover Studio Album, 1975
3.22 | 40 ratings

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Counterpoints
Argent Crossover Prog

Review by GruvanDahlman
Collaborator Heavy Prog Team

4 stars Argent seems to be a band sadly underappreciated in prog rock circles. True, the first two or three albums are sort of lacklustre even by my standards but almost every album holds one or a few progressive gems. "In deep" certainly do and "Nexus is the first of the Argent albums, as I see it, that aims for the progressive rock market. The band hits a high with "Circus" which is by far their most accomplished and most progressive sounding album. Then they released "Counterpoints". Not much loved, as far as the ratings go, but they seemed to launch yet another full on attack of prog rock. Is it as good as "Circus"? Almost.

The album starts off with a mellotron drenched rock song with progressive garnish. You have to remember that Argent from the beginning was little more than a (hard) rock band and though they in 1975 headed down prog avenue they seemed to feel obliged to add one or two simpler songs. Single cuts? A yearning for the charts? Well, maybe. And who can blame them for wanting some cash in their pocket? Anyways, not the most progressive track but good enoug and the mellotron opening is terrific. The song segues into "I can't remeber but yes" which turns out to be the exact opposite to the beginning. High octane progressive jazz-rock with a breathtaking intensity.

The first really outstanding song is "Time" and quite a long piece too, clocking in at 7 minutes. This is really brilliant jazzy progressive. The opening sets the mood and then it hits you. The pop and rock tendencies are gone. You are left with pure prog gold. This is the motherlode of the album.

"Waiting for the yellow one" is a ballad of the sort that prog bands seem to do so well. Soft and gentle with a great organ in the background. "it's fallen off" is a fusion-y thing that could have been on one of the mid 70's Focus albums. The song "Be strong" is another ballad type of thing but with wonderfully arranged odd time structures. Up to now the stage have been set for an almost 100% progressive experience but the spell is broken somewhat by "Rock & roll show". I have a serious problem with bands singing the words "rock-n-roll" over a simple boogie beat as if their trying to create a hymn for the genre. The song in itself isn't bad, really it isn't. Quite catchy and energetic but I just cant stand the chanting of "rock'n'roll". It's just not my cup of tea.

"Road back home" puts most things in order again and a very british sounding intro on flugelhorn(?) precedes the vocal part. Great stuff this. A progressive journey with emotive sections and beautifully arranged. This, the last track, is also the longest with its 10 minutes. Jazzy and smooth without being cheezy this really is a fine way to end an album. And the mellotron is yet again delicious.

I do not understand the high degree of negative criticism this album seems to receive. Given the fact that we all have different taste I still do not understand it. It's a great little album by a (sometimes) great band and being their last album I Think they Went out on a high note. The instrumentation is flawless without being fusion-y sterile, the vocals are terrific (thank you, John Verity) and the mood of the album has everything that makes a prog album great. Apart from two lesser loved tracks ("On my feet again" and "Rock & Roll show") I think it's top class stuff. Give it a go, why don't you?

 Arms Open Wide by KERSHAW, MIKE album cover Studio Album, 2018
3.13 | 4 ratings

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Arms Open Wide
Mike Kershaw Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

3 stars It has to be said that I am not a massive fan of Kershaw's vocal style, as for me there just isn't enough variety, and it comes across similar in tone and approach throughout the whole album. The one time this changes is on the third section of the opening song, "The Fear Quartet" (which as the name implies is a lengthy four section epic), where Stu Nicholson adds some much-needed variety, passion and emotion and takes the song to a whole new level. Musically, the band Kershaw has brought together for his fifth studio album do a great job, but one can't help but wonder what the album would have sounded like if he had brought in another singer?

The band are crossover prog, with large elements of neo prog, but interestingly I also found myself being reminded at times of the approach of The Levellers and the pop of Crowded House, so quite a mixed style in many ways. Gareth Cole (guitar) is a revelation, with some blistering lead runs and melodies, while Leopold Blue-Sky (Garden of Live Flowers - bass) keeps it nailed and Stefan Hepe (Gandalf's Fist) is given free rein on the drums to do pretty much what he likes, and definitely drives it along from the back. Kershaw himself provides keyboards and vocals, but the keys are pretty much there for tonal colour as opposed to driving melodies, somewhat similar to how Credo operates before Mike Varty joined the band.

Overall this is a solid album, as opposed to essential, and if you find that you enjoy Kershaw's vocals then I am sure you will think it is much more of the latter than the former.

 Sound on Sound ( as Bill Nelson's Red Noise) by NELSON, BILL album cover Studio Album, 1999
3.97 | 11 ratings

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Sound on Sound ( as Bill Nelson's Red Noise)
Bill Nelson Crossover Prog

Review by WFV

4 stars New Wave rock classic Sound on Sound starts full throttle and doesn't let up until your aural senses have been pummeled into submission. This is literate and urgent late seventies guitar based new wave jam rock that is too idiosyncratic to be mainstream, too intelligent to be accepted by massive outsiders. Bill apparently thought Red Noise was a musical dead end but this is a beauty that should satisfy many occasions when blistering rock music is called for. One listen to the opener Don't Touch Me (I'm Electric) and you'll know what I mean. 4.5 stars and the arrival of Nelson as a mature artist.
 Broken by NINE INCH NAILS album cover Singles/EPs/Fan Club/Promo, 1992
3.58 | 50 ratings

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Broken
Nine Inch Nails Crossover Prog

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

4 stars Felt exactly like "Happiness In Slavery" under such a destructive "Broken" situation. This ep "Broken", my first NIN album, has given me an unbelievable shock and magnificent amaze. Already immersed in the sleeve with a quietly burning "n" character at the centre indeed, but NIN aka Trent's noisy, violent but sincere, gorgeous sound theatre has driven me complete mad. The musical method in his early years is far from "so-called" progressive rock indeed but he has had a lot of foresight (enough to dig Marilyn Manson or so out) for producing serious musical innovation and creating industrial invasion. His innovative soundscape's exploded massively through this ep, regardless of his previous album "Pretty Hate Machine" already full of dry loudness and desert madness.

Yes in the first break "Pinion" the sound structure is already broken. Just like a volcanic eruption (reminding me of Tarkus' Eruption actually), offensive dissected melody lines are convoluted and synchronized one after another. This phenomenon is crazy enthusiastic enough to uplift my motivation gradually. And in an aggressive manner I'm kicked out via one of the most speedy, uptempo stuff "Wish", where bombastic electric guitar phrases are launched aloud here, there and everywhere. Another spiritual regulation attacks me. On the contrary, "Help Me I Am In Hell" consists fully of sticky, repetitive guitar meditations from the beginning until the end ? sorta dissonant moment is going away quietly. Also upon "Last"in the same vein of his previous album Trent tries to show his strong intention of grunge / industrial hardcore.

Another tough exposure is exactly a piece of his words "Gave Up", followed by about 80 second silence ? pretty of anxiety. This disquieting quietness should be one of his point of views upon the current rock scene, I guess. Sounds like the last "Suck" would have mentioned such an unstable situation in the music world should be continued eternally. Predominant eccentricity itself is his incredible, agitative representation, let me say. My favourite one.

 Dissolution by PINEAPPLE THIEF, THE album cover Studio Album, 2018
4.09 | 71 ratings

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Dissolution
The Pineapple Thief Crossover Prog

Review by Timdano

4 stars Is this it, their masterpiece?

A personal favorite TPT album for me is Little Man that despite the incredibly dark subject matter (the loss of a baby and the tsunami of emotions surrounding that event) really draws me in. Little Man is raw, gut-wrenching, incredible music. I sense a similar dynamic to this album too; albeit without the backdrop of personal tragedy. A lot of The Pineapple Thief's output flirts with greatness but never quite hits that mark. But with Dissolution, I believe, Soord and company have found that sweet spot- unforgettable melodies and a flawless listening. It's not really progressive though, and that's OK.

For a band that's been around a long time, Dissolution sounds surprisingly fresh. I assume the infusion of of Gavin Harrison talent into a true band member/collaborator for TPT plays a large role in this.

Things that strike me: Perfect production. Painstaking detail to each song. Absence of filler, every song is good.

It's evident that Bruce Soord really did give this one the attention this album portrays now. Put on a good set of headphones, pour a glass of decent wine, close your eyes, sit back and take this one in? you won't be disappointed.

This is it; their masterpiece.

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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 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
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
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
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
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
BACKHAND Venezuela
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
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