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PROG RELATED

A Progressive Rock Sub-genre


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Prog Related definition



No musical genre exists in a vacuum. Not all of the bands that have been a part of the history and development of progressive rock are necessarily progressive rock bands themselves. This is why progarchives has included a genre called prog-related, so we could include all the bands that complete the history of progressive rock, whether or not they were considered full-fledged progressive rock bands themselves.

There are many criteria that the prog-related evaluation team considers when deciding which bands are considered prog-related. Very few bands will meet all of this criteria, but this list will give an idea as to some of the things that help evaluate whether an artists is prog-related or not.

1) Influence on progressive rock - The groundbreaking work of artists like Led Zepplin and David Bowie affected many genres of rock, including at times progressive rock. Although both of these artists created rock music in a dizzying array of genres, both contributed to the ongoing history of progressive rock several times within the span of their careers.

2) Location - Progressive rock did not develop at the same time all over the world. It may surprise some people that as late as the mid-70s the US had very few original progressive rock bands that did not sound like exact copies of British bands. Journey was one of the first US bands to present a uniquely American brand of prog-rock before they eventually became a mainstream rock band. We have collaborators from all over the world who tell us which bands helped the progressive rock scene develop in their corner of the globe, even if those bands were like Journey and were known more for being mainstream rock bands.

3) Members of important progressive rock bands - Although most of the recorded solo output of artists like Greg Lake and David Gilmour falls more in a mainstream rock style, their contributions to progressive rock in their respective bands insures them a place in our prog-related genre.

4) Timeliness - Like many genres, prog-rock has had its ups and downs. In the late 70s and early 80s prog-rock was barely a blip on the radar. During this time artists such as David Bowie and Metallica released albums that captured key elements of the spirit of prog rock and did so while contributing their own original modern elements to the mix.

5) Integral part of the prog-rock scene - Sometimes you just had to be a part of the scene during a certain time period to understand how some bands fit with the prog rock scene of their time. Although Led Zeppelin, Black Sabbath and Wishbone Ash may seem like mere hard rock bands, in their time they stood apart from other hard rockers with their more serious lyrical content and more developed compositions. Put simply, in the early 70s every prog-rock record collector usually had full collections of all three of these artists. These three bands were very much part of the prog-rock scene without being total prog-rock bands them selves.

6) Influenced by progressive rock - From the late 60s till about 1976 the progressive tendency was in full effect in almost all genres of music. Once again, as we enter the second decade of the 21st century a melting pot of prog-metal, math-rock, progressive electronics and post-rock influences have once again made a progressive tendency in rock music almost more a norm than a difference. Yet in other periods of musical history receiving influence from progressive rock could really set a band apart and make them worthy of our prog-related category.
Being influenced by progressive rock is hardly the only factor we look at, and in some periods of musical history it is almost meaningless, but still, it is almost a given that most of the artists listed in prog-related were influenced by the development of progressive rock.

7) Common sense - Nitpicking over the above listed criteria is not necessarily the correct way to evaluate a band for prog-related. Sometimes you just have to use some common sense and look at the big picture.
A very good way to describe prog-related would be to imagine an exhaustive book that covered the history of progressive rock. Would such a book include references to led Zeppelin's 'Stairway to Heaven', David Bowie's 'The Man Who Sold the World' or Queen's 'Bohemian Rhapsody'? Probably so.
- Easy Money

Prog Related Top Albums


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

4.39 | 1102 ratings
LED ZEPPELIN IV
Led Zeppelin
4.50 | 316 ratings
BLACKSTAR
Bowie, David
4.36 | 779 ratings
QUEEN II
Queen
4.29 | 906 ratings
A NIGHT AT THE OPERA
Queen
4.28 | 930 ratings
PARANOID
Black Sabbath
4.22 | 842 ratings
BLACK SABBATH
Black Sabbath
4.23 | 638 ratings
ARGUS
Wishbone Ash
4.23 | 633 ratings
THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS
Bowie, David
4.19 | 758 ratings
SEVENTH SON OF A SEVENTH SON
Iron Maiden
4.19 | 487 ratings
RISING
Rainbow
4.13 | 714 ratings
POWERSLAVE
Iron Maiden
4.12 | 708 ratings
MASTER OF PUPPETS
Metallica
4.15 | 474 ratings
HUNKY DORY
Bowie, David
4.16 | 326 ratings
SCARY MONSTERS (AND SUPER CREEPS)
Bowie, David
4.08 | 724 ratings
SABBATH BLOODY SABBATH
Black Sabbath
4.09 | 585 ratings
RIDE THE LIGHTNING
Metallica
4.06 | 834 ratings
PHYSICAL GRAFFITI
Led Zeppelin
4.04 | 904 ratings
LED ZEPPELIN
Led Zeppelin
4.05 | 727 ratings
MASTER OF REALITY
Black Sabbath
4.16 | 249 ratings
SECRET TREATIES
Blue Öyster Cult

Latest Prog Related Music Reviews


 A Parcel of Steeleye Span - Their First Five Chrysalis Albums 1972-1975 by STEELEYE SPAN album cover Boxset/Compilation, 2009
3.14 | 3 ratings

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A Parcel of Steeleye Span - Their First Five Chrysalis Albums 1972-1975
Steeleye Span Prog Related

Review by Matti
Prog Reviewer

3 stars The first review for this 3-cd set containing five subsequent STEELEYE SPAN studio albums from the timeline 1972 -- 1975. The first of them, Below the Salt, was already the fifth album of this legendary British folk rock group. It marked not only their move to new label Chrysalis but also changes in the line-up (guitarist Bob Johnson and bassist Rick Kemp replacing Martin Carthy and Ashley Hutchings), and the beginning of the classic era -- and bigger success. Their sound matured at this point, and also vocals of Maddy Prior had never sounded better. Nine tracks of Below the Salt, all being traditional tunes, include e.g. 'John Barleycorn' that was made famous by Traffic two years earlier. 'Rosebud in June' is very good as an a cappella performance from the group, and their version of the Medieval Latin-language song 'Gaudete' even entered the charts. Both sides of the single are featured here, 'The Holly and the Ivy' being a non-album track.

With traditional material still remaining in focus, the following albums saw the band's style getting rockier. Parcel of Rogues (1973; divided into discs 1 and 2) adds more electric guitar and thus resembles Fairport Convention's seminal Liege & Lief (1969), and Now We Are Six (1974) introduced drummer Nigel Pegrum in the line-up. He not only brought stronger beat but also played some oboe, flute and recorder. Ian Anderson credited as a production consultant, this is the favourite for many prog listeners, despite a couple of weak tracks (such as 'To Know Him Is to Love Him' featuring David Bowie on alto sax!). The 2nd disc of this set ends with a bonus non-album (?) live track from 1974, 'The Wife of Ushers Well'.

The 3rd disc features the albums Commoners Crown and All Around My Hat (both from 1975). Now Steeleye Span was a full- fledged rock group with heavy riffs. On Commoners Crown, worth mentioning is 'Bach Goes to Limerick' that mixes J. S. Bach with traditional Irish music. All Around My Hat, with the well-known title hit, was produced by Mike Batt and is the band's best- selling and the rockiest album.

This set is well worth having if you're interested in this essential folk rock band but aren't a dedicated collector who wants to own the albums separately. The 8-page booklet doesn't have an essay on the band but features the album covers & informations plus three band photos.

 Sabotage by BLACK SABBATH album cover Studio Album, 1975
3.98 | 547 ratings

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Sabotage
Black Sabbath Prog Related

Review by The Crow
Prog Reviewer

4 stars The last great album from the first Ozzy Osbourne's era!

This time, with the help of producer Mike Butcher, they created a very solid album which supposed a little return to their roots after the more commercial and bland Sabbath Bloody Sabbath. The sound of the album is fantastic, especially the Iommi's mammoth guitars and the playful Butler's bass lines.

The drugs and alcohol problems that the band was suffering at that time had not affected the quality of their music yet and Sabotage deserves to be remembered as another seminal record, obligated to understand the heavy metal explosion at the end of the 70's.

Best Tracks: Hole in the Sky (pure Black Sabbath heavy metal!), Symptom of the Universe (along with Queen's Stone Cold Crazy, this was one of the first thrash metal riffs in history), Megalomania (one of their most progressive, catchy and incredible compositions) and The Writ (another seminal track for the development of Stoner Rock)

Conclusion: despite not being so relevant these days, Sabotage is my favorite Black Sabbath album after Master of Reality. Not so pompous and commercial like Sabbath Bloody Sabbath but far more progressive and complex.

Sadly, after Sabotage the band entered in an unstoppable downward spiral.

My rating: ****

 Freudiana by WOOLFSON, ERIC album cover Studio Album, 1990
3.49 | 118 ratings

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Freudiana
Eric Woolfson Prog Related

Review by sgtpepper

3 stars After the 1980's Turn of the friendly card, this is the most progressive output of Eric Woolfson and Alan Parsons. Catchy poppy tracks are not as aggressive as few years ago. I have the impression that both APP's masterminds decided to create more solid work of challenging and memorable music without any pressure to sell. The album clocks at 74 minutes but still, it has enough to offer - both guys had enough time to recover and collect new ideas. Album feels like a collection of various tracks, moods and singers although there is a concept behind.

"The Nirwana principle" is the track with the motive that gets repeated throughout the album. "Freudiana" is also one of the main music motives with great melody - and subtle melancholy in the vein of APP. "I am a mirror" is a catchy track reminiscent of previous golden era. The ballad slot is filled with a high quality "Dora" sung by legendary voice of Eric Woolfson. Another ballad "There but for the grace of God" brings the great voice of John Miles. "Far away from home" brings me the Christmas spirit each time a hear it. One a more progressive note, listen to "The ring" was more interesting instrumentation. "Don't let the moment pass" is a symphonic track that is unusual for APP.

Overall, this is a well structured and crafted piece of progressive pop.

 A Valid Path by PARSONS BAND, ALAN album cover Studio Album, 2004
2.55 | 77 ratings

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A Valid Path
Alan Parsons Band Prog Related

Review by sgtpepper

2 stars One of the last studio outputs of Alan Parsons. First of all, I have a great respect for who up to date and inspired Alan Parsons keeps himself - as a former studio engineer, he has the ability to absorp new trends and keep what suits his music.

Contrary to other reviewers or tastes, I don't mind at all hearing techno and electronica on this album. The studio work and engineering is top-notch as on any other of his albums.

The album sounds fresh and contemporary although a far cry from progressive rock. The album will please fans of intelligent electronic and pop music. Fortunately and maybe due to the album sound, most of the tracks are instrumental (well, only the guitar may be the only classic instrument here).

The two sung tracks are average pop tracks slightly below the average of Alan Parsons pop songs. The highlights are the long instrumental tracks. "Return to Tunguska" is a noteworthy electronic studio experimentation.

"L'arc en Ciel" has a powerful rhythm and bass line narrowing a breakbeat/drumnbass territory. "Chomolungma" has a pleasant contemporary vibe and documents Parson's qualities as modern engineer. The setback are two tracks: a re-make of "Mammagamma" and "A recurring dream within a dream".

Not many former 70's progressive rock masters and producers could pull off an album like that and I have a respect for that. On a progressive rock note, 2 stars are deserved, otherwise 3.

 The Brown Album by PRIMUS album cover Studio Album, 1997
3.16 | 78 ratings

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The Brown Album
Primus Prog Related

Review by TCat
Prog Reviewer

3 stars The Brown Album was called this because it was supposed to be Primus' version of The White Album by The Beatles or The Black Album by Metallica, it was going to be a milestone, according to Claypool. Later, when asked how the album was going to sound, Brian "Brain" Mantia, the new drummer that replaced Tim Alexander, said that it was named The Brown Album because the mixes sounded like a "muffled turd". I tend to believe the last explanation as this album was intentionally mixed to sound muddier, less bright. They succeeded in that endeavor. Unfortunately, the songs sound more forced and tired. The humor and the basic sound is still there, it just seems like the heart was not in this album.

Out of the Primus albums, this is probably my least favorite. Of course, there are some great tracks like "Shake Hands With Beef", "Duchess and the Proverbial Mind Spread", "Golden Boy" and such, but there are a lot more mediocre, flat sounding tracks that just don't have the spark and spunk of the previous Primus. This album is not the one to listen to if you are hearing Primus the first time, you are better off getting "Frizzle Fry", "Sailing the Seas of Cheese" or "Tales from the Punchbowl". Some of the tracks from The Brown Album will grow on you, but most of them lack the amount of life needed to grow anymore from the murky muck of this album. But it's okay, Les Claypool is still one of my heroes.

 Secret Treaties by BLUE ÖYSTER CULT album cover Studio Album, 1974
4.16 | 249 ratings

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Secret Treaties
Blue Öyster Cult Prog Related

Review by mariorockprog

4 stars 4: The third album of Blue Oyster Cult, being the proggier effort by the band (as some reviewers said) and considered as their best album. The first song has a starting prog sound however doesnt evolve in something else, is a catchy hard rock song, but the lyrics are not so elaborated. In general, is a collection of really good songs, that apparently fan tell that have an history going about aliens and how they play with humanity. Musically, I considered it good, but nothing spectacular. I think I was expecting something more elaborated by its score, very little prog is found here, mostly regular rock songs with some interesting riffs. Is an interesting album, I think it would be enjoyable for a prog listener, but don't expect something proggier or elaborated.
 Blackstar by BOWIE, DAVID album cover Studio Album, 2016
4.50 | 316 ratings

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Blackstar
David Bowie Prog Related

Review by mariorockprog

4 stars 4.25: The final album by Bowie, was intended to be the swan song (a belief that the swan before die they sing a beautiful song, and in this context will be the last effort and gesture for the fans by Bowie) before his dead, as he described it would be nothing that he have done previously and it certainly accomplish that. Two days after his release he died by cancer, but he knew that the album was critically acclaimed and a commercially success. It begins with a very progressive song, and really good it is speaking about his actual dead, a theme that will be touched in mostly all the album. In general the album conserves the Bowie style of using very deep meaning and metaphorical lyrics. Musically it is a very jazzy and progressive album, it has a lot of elements never seen by Bowie. However, something that I noticed, is that his voice and enthusiasm was not at his best moment for obvious reasons, but was a good performance in general. A very good album that incorporate mostly jazz and some prog elements that any prog listener will enjoy.
 The Rise And Fall Of Ziggy Stardust And The Spiders From Mars by BOWIE, DAVID album cover Studio Album, 1972
4.23 | 633 ratings

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The Rise And Fall Of Ziggy Stardust And The Spiders From Mars
David Bowie Prog Related

Review by mariorockprog

5 stars 4.5 Is the fifth studio album of David Bowie in collaboration with his backing band th spiders from mars. The concept of the album is based in a bisexual rockstar that acts as a messenger for extraterrestrial beings. Its name is Ziggy Stardust and it is influenced by the Glam rock culture and explore controversial themes, also he want to change the world with his rock n roll style. A very consistent album and although the music is nothing spectacular it is well balanced adding different rhythms and changes in thematic with every song, their quality of the music never falls, but it has a lot of ups. Lyrically is excellent, it is a very strange history but funny and the same time, also with some metaphors. A very good album that any prog collector will enjoy.
 Glastonbury 2000 by BOWIE, DAVID album cover Live, 2018
4.00 | 4 ratings

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Glastonbury 2000
David Bowie Prog Related

Review by Warthur
Prog Reviewer

4 stars Subtitle this one "Memory of an Expensive Festival". David Bowie's nostalgic Glastonbury set of 2000 was broadcast by the BBC, so bootleg versions of it have knocked about for a while. Still, it's nice to get an official, cleaned-up version of this release. Bowie had been averse to playing much of his early back catalogue live for some years prior to this, but returning to the festival some decades after his initial appearance must have put him in a reminiscent mood, because the set by and large is a tour through most of his greatest hits.

From the running order, you'd think that Bowie had spent a decade in seclusion after doing the Absolute Beginners soundtrack; the only newer songs represented on the setlist are Hallo Spaceboy, Little Wonder, and I'm Afraid of Americans, decent enough examples of Bowie's recent work but a little incongruous in an otherwise classic rock-styled set. The delivery's also a bit different from the glam rock roar or the dark art rock stylings of classic Bowie gigs of the 1970s, or even the high theatricality of his 1980s tours. This is a festival, after all, and an airing of songs that Bowie had left on the shelf for a little while, so the delivery tends to be a bit more upbeat and anthemic.

As for the performances themselves, the recording unfortunately doesn't capture the backing singers as well as it could but otherwise the band's sounding great, which is good because Bowie himself is not at peak performance. Whilst he soldiers on and puts in a credible performance, he admits to being a bit under the weather and jokingly pleads with the audience to pitch in and cover for him if he loses his voice at one point. Indeed, his banter with the audience reveals him to be in a decidedly cheerful mood, which I suppose is in keeping with the generally cheerful delivery of the material here.

It says a lot about the depth of Bowie's back catalogue that he can make a set of 22 classic songs, the vast majority of which have a strong claim to belong in any "best of" compilation of his, and yet he doesn't have to resort to rehashing Space Oddity yet again (a song he'd become sick enough of that, even though he took the rest of his old toys out of the closet to play with again, he left it on the shelf). The setlist really doesn't suffer for it. I wouldn't put this in the top rank of Bowie live releases - particularly considering some of the delicious 1970s archival live sets that have been coming out lately - but if you wanted evidence of late-period Bowie still being able to hack it in a live context, you've got it right here.

 GTR by GTR album cover Studio Album, 1986
2.31 | 129 ratings

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GTR
GTR Prog Related

Review by VianaProghead
Prog Reviewer

3 stars Review Nº 227

'GTR' is the eponymous debut studio album of GTR and was released in 1986. It's the sole official studio album released by the short lived super group GTR. The group was founded by the ex-Genesis' guitarist Steve Hackett and then ex-Yes and ex-Asia's guitarist Steve Howe. The group lasted for two years and made two albums, a studio and a live album, and disbanded in 1987. Curiously, Hackett has subsequently been strongly critical of this musical project.

The band's name, anecdotally, comes from the marking on the studio mixing console that indicates the guitar volume control. In comparison to the two leaders' earlier works within progressive rock, GTR's work followed on an album with a more oriented rock format. One of the central ideas for GTR, as a project, was an attempt to create a fully fleshed contemporary band that sound without the use of keyboards and synthesizers. Instead, Hackett and Howe's guitars were outfitted with Roland guitar synthesizers. All the synthesizer sounds on the album was created using this method.

The line up on the album is Max Bacon (vocals), Steve Hackett (vocals, guitars, guitar synthesizer and bass), Steve Howe (vocals, guitars and guitar synthesizers), Phil Spalding (vocals and bass guitar) and Jonathan Mover (drums and percussion).

'GTR' has ten tracks. The first track 'When The Heart Rules The Mind' written by Hackett and Howe is one of the better tracks on the album. Max Bacon is at his best with his voice similar to Dennis DeYoung of Styx and with Hackett and Howe contributing with their customary guitar work duets. It was the first single of the album. The second track 'The Hunter' written by Downes is a track with nothing of progressive on it. The track is saving by those fleeting guitar moments especially Hackett's guitar ending and Phil Spalding's bass playing. This was the second single of the album. The third track 'Here I Wait' written by Hackett and Howe represents a complete contrast to the previous track with its heavy guitar sound. The duet between Hackett and Howe is excellent and a relief and it remind us that these guys can really play when they want to. The fourth track 'Sketches In The Sun' written by Howe is the first instrumental on the album and is Howe's showcase. This is one of the few reasons why we should buy this album. It has one of the best solo performances made by him. This short instrumental track shows that both could have offered something better to this album. The fifth track 'Jekyll And Hyde' written by Hackett, Howe and Bacon see the band returning to the same style of the first tracks of the album. Once again it has a whole load of synthesizers and guitars with a sound very much like the sound of Yes created when Howe left the band. The sixth track 'You Can Still Get Through' written by Hackett and Howe is possibly one of the worse tracks on the album. Once again we have the eighties keyboard sound and it seems that the band have run out of ideas. The seventh track 'Reach Out (Never Say No)' written by Hackett, Howe and Spalding is a track dominated by the guitars. Fortunately the guitar work manages to save this track from becoming another run to a typical AOR track. The eighth track 'Toe The Line' written by Hackett and Howe is a complete different story and it was primarily written by Howe. This is a good track with a nice acoustic guitar work with some delightful guitar licks, making of it one of the better numbers of the album. The ninth track 'Hackett To Bits' written by Hackett can clearly be identified as a track in the Hackett's back catalogue. This isn't a new piece of music but only a revisit of an original version of their album 'Please Don't Touch'. It seems that Hackett was very reluctant to include new material of his own on the album. The tenth and last track 'Imagining' written by Hackett, Howe and Mover is an excellent track and we may say that this is one of the tracks that save the album. This is one of the few rare moments on the album where we can hear real progressive rock music. The acoustic guitar work is a delight while the percussion and the vocals blend in well making this track are one of the few that can be heard without sounding to much outdated.

Conclusion: One of my last reviews on Progarchives was 'Squackett', the other album with a partnership with Genesis and Yes. In reality we can't compare these two albums. Have these two albums the same quality level? No. 'Squackett' is much better than 'GTR' is. Still, we must note that both albums were released in completely different times. Probably the worst thing to 'GTR' was its release in the 80's, those troubled times for progressive rock music. In my humble opinion, basically 'GTR' can be described as a fairly decent AOR album. It has five tracks that save the album 'When The Hurt Rules The Mind', 'Sketches In The Sun', 'Toe The Line', 'Hackett To Bits' and 'Imagining'. The main problem with it is that it was and still is a truly disappointment to all progressive rock fans who felt that the collaboration between Steve Hackett and Steve Howe, considered two of the best and most respected musicians in the progressive music, could possibly lead to a classical 70's progressive rock album. The fact these two guitar legends also succumbed, like so many others, to the whims of the music industry shows the sad state of affairs the music is.

Prog is my Ferrari. Jem Godfrey (Frost*)

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Prog Related bands/artists list

Bands/Artists Country
10CC United Kingdom
14 BIS Brazil
801 United Kingdom
ABEDUL Spain
ABSOLUUTTINEN NOLLAPISTE Finland
ACIDENTE Brazil
AERODROM Yugoslavia
AGNUS DEI Austria
DON AIREY United Kingdom
ALBERO MOTORE Italy
ALWAYS ALMOST United States
THE AMBER LIGHT Germany
AMBROSIA United States
JON ANDERSON United Kingdom
ARIEL Australia
ASIA United Kingdom
ATLANTIS United States
PETER BARDENS United Kingdom
SYD BARRETT United Kingdom
LUCIO BATTISTI Italy
BEAU DOMMAGE Canada
BIJELO DUGME Yugoslavia
BLACK SABBATH United Kingdom
BLACKFIELD Multi-National
BLODWYN PIG United Kingdom
BLUE ÖYSTER CULT United States
JEAN-PASCAL BOFFO France
THE BOLLENBERG EXPERIENCE Belgium
DAVID BOWIE United Kingdom
BRAM STOKER United Kingdom
BUCKETHEAD United States
BUDGIE United Kingdom
BYZANTIUM United Kingdom
JOHN CALE United Kingdom
CARNEGIE United States
CASA DAS MÁQUINAS Brazil
THE CHURCH Australia
CITY Germany
CITY BOY United Kingdom
CLOUDS United Kingdom
STEWART COPELAND United States
CRUACHAN Ireland
MARTIN DARVILL & FRIENDS United Kingdom
BRIAN DAVISON'S EVERY WHICH WAY United Kingdom
FABRIZIO DE ANDRÉ Italy
CHRISTIAN DÉCAMPS France
DEUS Belgium
DIABOLUS United Kingdom
DIR EN GREY Japan
DRAGON New Zealand
DREAMLAND United States
ER. J. ORCHESTRA Ukraine
ESQUIRE United Kingdom
EVOLVE IV United States
EX CATHEDRA United States
FAIRPORT CONVENTION United Kingdom
THE FIRE THEFT United States
FLIED EGG / STRAWBERRY PATH Japan
FLIGHT 09 Uzbekistan
FLYING COLORS United States
FM Canada
FOTHERINGAY United Kingdom
ELOY FRITSCH Brazil
FUGATO ORCHESTRA Hungary
AVIV GEFFEN Israel
DAVID GILMOUR United Kingdom
GORDON GILTRAP United Kingdom
ROGER GLOVER United Kingdom
GOD BLESS Indonesia
GODLEY & CREME United Kingdom
GOLDEN EARRING Netherlands
GROUNDHOGS United Kingdom
GTR United Kingdom
GUDDAL (YNGVE) & MATTE (ROGER T.) Norway
GYGAFO United Kingdom
THE HAPPENINGS FOUR Japan
HAPPY END Japan
HELP YOURSELF United Kingdom
KEN HENSLEY United Kingdom
ROGER HODGSON United Kingdom
HORIZONT Sweden
INDIGO Austria
IRON MAIDEN United Kingdom
JACKSON HEIGHTS United Kingdom
BERT JANSCH United Kingdom
JAPAN United Kingdom
JEAN-MICHEL JARRE France
JIMMY PAGE - ROBERT PLANT United Kingdom
JON & VANGELIS United Kingdom
BRYAN JOSH United Kingdom
JOURNEY United States
KALEVALA Finland
ERIC KAMPMAN United States
KESTREL United Kingdom
KING'S X United States
KINO United Kingdom
KLAATU Canada
KORNELIJE KOVAC Yugoslavia
KREUZWEG Germany
GREG LAKE United Kingdom
LANA LANE United States
LED ZEPPELIN United Kingdom
GEDDY LEE Canada
ALEX LIFESON Canada
JOSIPA LISAC Yugoslavia
JON LORD United Kingdom
MAGELLANMUSIC United States
MAGNA CARTA United Kingdom
MAGNUM United Kingdom
YNGWIE MALMSTEEN Sweden
MÅNS MOSSA Sweden
GERARD MANSET France
PHIL MANZANERA United Kingdom
NICK MASON United Kingdom
MASTERPLAN Multi-National
MATTER OF TASTE Austria
PETER MATUCHNIAK United States
MAX WEBSTER Canada
MERCURY REV United States
METALLICA United States
MINDFIELDS Poland
MOONDANCER Japan
MUSE United Kingdom
NOW United States
OFFENBACH Canada
OM ART FORMATION Bulgaria
OYSTERHEAD United States
THE PARLOUR BAND United Kingdom
ALAN PARSONS BAND United Kingdom
PHISH United States
I POOH Italy
DAVORIN POPOVIć Yugoslavia
PRIMUS United States
QUEEN United Kingdom
RAIN FOR A DAY Germany
RAINBOW Multi-National
JOHN RENBOURN United Kingdom
TERRY RILEY United States
LAZA RISTOVSKI Yugoslavia
ROCKFOUR Israel
MIKE RUTHERFORD United Kingdom
SADISTIC MIKA BAND Japan
SATIN WHALE Germany
SERÚ GIRÁN Argentina
SIGNS OF ONE Canada
DAVE SINCLAIR United Kingdom
PETER SINFIELD United Kingdom
SLINT United States
SOLSTICE COIL Israel
STEELEYE SPAN United Kingdom
STRAWBERRY FIELDS Poland
STREAM OF PASSION Netherlands
STYX United States
SUI GENERIS Argentina
SUPER FURRY ANIMALS United Kingdom
SVANN Poland
SYMPHONIC SLAM Canada
SYNERGY United States
SYNOPSIS Estonia
ALDO TAGLIAPIETRA Italy
TALKING HEADS United States
TAMOUZ Israel
TANTALUS United Kingdom
TIRED TREE Sweden
TITANIC Norway
TOY MATINEE United States
TRAVELLERS Poland
TRIANGULUS Sweden
TRICANTROPUS Spain
TRIUMPH Canada
STEVE VAI United States
ANNEKE VAN GIERSBERGEN Netherlands
VANGELIS Greece
OLIVER WAKEMAN United Kingdom
WALRUS Japan
JOHN WETTON United Kingdom
WHALEFEATHERS United States
WHEATSTONE BRIDGE United States
WHIMWISE United Kingdom
WHITE United Kingdom
ROBIN WILLIAMSON United Kingdom
WISHBONE ASH United Kingdom
THE WISHING TREE United Kingdom
ERIC WOOLFSON United Kingdom
ZON Canada

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