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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

4.37 | 967 ratings
LED ZEPPELIN IV
Led Zeppelin
4.36 | 687 ratings
QUEEN II
Queen
4.51 | 188 ratings
BLACKSTAR
Bowie, David
4.28 | 818 ratings
PARANOID
Black Sabbath
4.27 | 796 ratings
A NIGHT AT THE OPERA
Queen
4.22 | 741 ratings
BLACK SABBATH
Black Sabbath
4.21 | 683 ratings
SEVENTH SON OF A SEVENTH SON
Iron Maiden
4.21 | 566 ratings
ARGUS
Wishbone Ash
4.21 | 528 ratings
THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS
Bowie, David
4.18 | 388 ratings
HUNKY DORY
Bowie, David
4.17 | 432 ratings
RISING
Rainbow
4.12 | 640 ratings
POWERSLAVE
Iron Maiden
4.10 | 607 ratings
MASTER OF PUPPETS
Metallica
4.09 | 648 ratings
SABBATH BLOODY SABBATH
Black Sabbath
4.18 | 256 ratings
SCARY MONSTERS (AND SUPER CREEPS)
Bowie, David
4.05 | 727 ratings
PHYSICAL GRAFFITI
Led Zeppelin
4.04 | 636 ratings
MASTER OF REALITY
Black Sabbath
4.17 | 208 ratings
SECRET TREATIES
Blue ÷yster Cult
4.05 | 489 ratings
RIDE THE LIGHTNING
Metallica
4.00 | 790 ratings
LED ZEPPELIN
Led Zeppelin

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Latest Prog Related Music Reviews


 Agents of Fortune by BLUE ÷YSTER CULT album cover Studio Album, 1976
3.12 | 149 ratings

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Agents of Fortune
Blue ÷yster Cult Prog Related

Review by Prog Sothoth
Collaborator Prog Metal Team

4 stars There are albums out there in which a single song within it stands out so much from the rest of the tracks that it practically carries the rest of the album on its back while sometimes not even being a representative song concerning the band's style and general output. Agents of Fortune wound up being one of those albums, elevating the financial status of the band in the process. But what can I say...even I couldn't help but skip to that track back in the day; it was really something else and quite effective in conveying an atmosphere. It was only during subsequent listens when I realized there was more to this release than that one tune, and now I find the album as a whole as pretty fascinating, but yeah, that one defining hell of a track was quite a game changer.

But before I wax poetic about "Tenderloin", there's still the rest of the album to consider. First of all, along with an improved, clearer production, the band also ventured a lot more out of its comfort zone. The dark attitude was still there, but the branching out into occasional pop territory was a new exploration. Yet the album branches out into a lot of other things, resulting in an album that's almost schizoid in nature musically, held together by the strange unsettling undercurrent in the overall mood, lyrics and penchant for killer guitar solos.

Opener "This Ain't the Summer of Love" is actually cool as a cucumber with a heavy guitar tone kicking things off on the right foot. It's got the motorcycles, meanness and iconoclasm one would expect out of B÷C going by their prior three releases. Other heavy hitters include "E.T.I. (Extra Terrestrial Intelligence)", the lone cosmic number with a ballsy bluesy riff anchoring it before the chorus shoots the band out into space. It's one of those songs in which when I first heard it, I knew it was B÷C, because it sounds like no other band I can think of. It's a great number and could have fit right in with Secret Treaties or even the debut, but I'm glad it's here since I'm not sure those productions would have benefited the song. Then there's "Tattoo Vampire" which brings back some fiery Tyranny & Mvtation action while featuring seedy lyrics involving the urban underworld and its dark secrets. That's actually a running theme for a lot of these songs, with the album's lyrics exploring a city-life underbelly setting moreso than anything else I've heard in their catalog, and in a few cases it really works wonders.

Not so for "Sinful Love", which may be their worst song of their entire 70's output, although the guitar solo (as always) is great. In fact the solo is so good I think Buck Dharma wrote that solo first and as a joke the rest of the band built a real crappy tune around the lead track just to prank Buck. The fact that this song starts off side 2 instead of "Tattoo Vampire" is an actual travesty. "Debbie Denise" isn't the best thing ever either, being an ode to some girl who stands by her rockstar lout of a man, but it sort of works because Albert can really pull off that hungover warbly voice so well...could have been an authentic delivery.

I can't fault the other tunes really. "True Confessions" isn't great, but the Elton John/Rolling Stones mishmash comes off pretty cool and the slow fade out provides an excellent tension builder for the next song. Then there's also "The Revenge of Vera Gemini ", which is icy cool with a slinky swinging gait and Patti Smith's vocal contributions. Certainly one of the most memorable tracks on the album.

But now it's time for some "Tenderloin" baby. I always get this impression of a lavish hotel room with a red velvet couch, neon lights flickering through the window, sirens wailing outside, a wine glass with lipstick on the rim, lots of pills and other things on the table etc. Eric's vocal delivery is at once impassioned yet sinister, and the air of lavish decadence hangs all over this sort of proto-new wave thing. I can only imagine the amount of blow involved in the creation of the song, considering that it's also a main factor within the lyrics, which neither condemns nor praises the protagonists. "It's just like life, there's never quite enough." It's one of those epiphanies when I could wonder "Is this the best time I can see myself having?" "Doesn't it all go eventually downhill?" and other thoughts during a binge or something. Slick, sleazy and quite unusual for the band, it's kind of it's own thing. The other couple of songs I haven't mentioned yet are quite awesome too.

So despite the presence of "Sinful Love", a song so bad you'd have to be a pigeon to sing it, Agents of Fortune really turned out to be a grower for me to an extent that I think it was the right thing for the band to do at the time, not just economically, but creatively since there's too many interesting gems to glare at, plus the sheer variety is noble and not really detrimental after a few listens.

 Pike 13 by BUCKETHEAD album cover Studio Album, 2013
3.91 | 5 ratings

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Pike 13
Buckethead Prog Related

Review by aglasshouse

4 stars Buckethead's Pike 13 is one dedicated to his indisposed father (who died not long after it's release), Tom Carroll. Buckethead, a guitar virtuoso who can be described as a freakshow with the musical stamina of a demigod, turned down his sound into something a bit more lackadaisical and emotional.

Pike 13 is a collection of ambient quasi-progressive rock songs which are all untitled, so they're generally referred to as "Track ___" depending on where they land on the album. They are all extremely slow and melodic, with a space rock vibe, but where most would fail with this laidback concept but Buckethead uses it to his advantage to create some pretty emotional pieces. Much of the album is very compact, usually only with Buckethead's echoing guitar doing the work. The longer parts, mainly the fantastic 'Track 6' is where he uses some simplistic yet effective drum fills for background sound.

Pike 13 is a short but sweet album from the recent years and is good for any occasion you want peace and quiet. I'd recommend to fans of soundtrack music (very Buckethead) or just soft prog in general.

 A Day At The Races by QUEEN album cover Studio Album, 1976
3.73 | 449 ratings

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A Day At The Races
Queen Prog Related

Review by poito

1 stars What a deceiving continuation of the album hosting the trademark of this band Bohemian Rhapsody. After they abandoned Prog and gave up themselves to the commercial and entertaining music, they appear kind of lost in this album, not knowing how to go ahead. The themes are dull and uninspired. Only the classic ballad Someone To Love stands out. One feels so sorry having lost the music by such a great composers to have this little piece of nothing. You may skip this album, whether you are a fan or just a music lover. Even the title seems to point to a complete absence of ideas, following the Marx brother's classic movies so they do not have to put the brains at work.
 A Night At The Opera by QUEEN album cover Studio Album, 1975
4.27 | 796 ratings

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A Night At The Opera
Queen Prog Related

Review by poito

3 stars In this album Queen enters the commercial era, they became worldwide superstars and as it could not be otherwise, this is achieved through an enormous simplification of the music that definitely goes mainstream. There are a few winks to prog but the theatrical turnaround is a fact and becomes dominant. Spite of being the best known album it contains several fillers. The universal Bohemian Rapsody, and the entertaining polyphonic section in the Prophet's Song are the highlights of this album. A more convenient title would have been a Night at the Cabaret. We lost a great band and the world gained a lot of entertaining music.
 Mirrors by BLUE ÷YSTER CULT album cover Studio Album, 1979
2.39 | 87 ratings

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Mirrors
Blue ÷yster Cult Prog Related

Review by Finnforest
Special Collaborator Honorary Collaborator

4 stars No sacred cows down this stretch of road

If some BOC fans had their way the band would have simply rehashed their first three albums ad infinitum. Many seem to base every judgment about the band through the prism of those albums. Thank God the band didn't listen to them because it is their second trilogy of albums (from Agents through Mirrors) that expanded their legacy by providing some of the most refreshing and quality music of their long career. These albums do not tarnish their name as many believe, they enhance it, they add much to the diversity of sound that distinguished BOC from some of the other hard rock bands of the day. For a brief moment we were treated to some different shimmering stars of the BOC universe.

Looking back at the most loathed "Mirrors" and allowing it to stand on its own it is amazing how it closes their second trilogy with such class. This is a moody album at times (some darkness, some light), a perfect album for cruising the highway at dusk or dawn-and thus, managed near perfection in the album cover art. While not quite the devious masterpiece that "Agents" was, "Mirrors" at first sounds like a continuation of "Spectres" but there is a noticeable shift to sonically cooler places. This makes sense because this was BOC's "west coast" album, their only 70s album made in Los Angeles. To get even further from their comfort zone they chose a new producer, the legendary Tom Werman, who true to his reputation challenged the ingrained notions (and with one band member even the musicianship) of the band. While not perfect it is a delicious 70s rock album if one can forget about things like "how progressive" it was or whether it pleases the first trilogy purists.

"Mirrors" is for the Cult as "Cornerstone" was for Styx. Released just four months apart, both presented a version of their respective bands with earnest precision and pop sentiments encouraged. Perhaps the charge of chasing FM airplay is fair but who gives a [&*!#] when the results are such ear candy? These are talented folks who didn't miss the plate much in the 1970s. There are a couple of classics on Mirrors that rival their best. "The Great Sun Jester" is full of warm acoustic guitar and an almost Lindsey Buckingham-like attention to detail. "The Vigil" could sit anywhere on Agents or Treaties and hold its own. A great mysterious vibe with a multi-section song construction, beautiful harmonies and guitar solos. "You're Not the One" is an odd but fantastic track, sounding at times like The Cars and featuring a Kim Deal guitar sound which makes me laugh when I hear it. See if you can spot the part I refer to. "Moon Crazy" is pure pop shine but listen to the killer playing! "In Thee" is a sweet track from the late great Allen Lanier who may have been influenced by Patti Smith, I actually think her vibe did creep into a few BOC albums and improve them. Same with "Lonely Teardrops" which closes the album with a beautiful musical sunset, via the background harmonies, soft keys, and great guitar solo.

I'm the odd man out on this title, never a surprise, but I think it is great. If you can't let your hair down and just enjoy a catchy album once in a while, you're really missing out on part of the pleasure of music. Kudos to whomever in the BOC camp was responsible for engineering this sunny Los Angeles fork in the road. The sacred cows would return soon enough.

 Claymation Courtyard by BUCKETHEAD album cover Studio Album, 2014
2.09 | 4 ratings

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Claymation Courtyard
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

2 stars BUCKETHEAD - PIKE 51 - CLAYMATION COURTYARD

10th album out of 60 in 2014 and 81st overall

All sounds brought to you by Buckethead and all instrumental

This one has 4 tracks that clock in at 30:15

"Claymation Courtyard" (5:02) begins with a heavy alternative metal guitar riff with bass and drums. It begins to alternate with slower arpeggios but wait! This sounds like one of those recycled tracks that's been done a million times. It may be heavy and distorted and all but oh so familiar. It continues the same groove and has a little slow down with a lead guitar solo ripping around it but still sounds like the same old grunge track that has been done. It alternates again with a quiet passage. Meh

"Disintigration Mirrors" (14:01) the longest track that takes up almost half the album starts out as another alternative metal rocker with a quickly plucked riff, bass and drums with some arpeggiated sections coming into play. A solo erupts. And then the melody repeats on and on and the lead guitar dances around it and it goes on for almost half the album. This is another totally recycled idea done to death. There is absolutely nothing going on in the songwriting department. It's merely a jam session with nothing new to offer. Meh

"Chainsaw Slide" (2:25) slows things down with a clean guitar arpeggio intro but quickly jumps into heavy crunchy metal territory. This one has a more interesting melodic development and riff tradeoff than the other two but it's nothing special either. Tones and timbres are pretty much the same as well is the style. Mercifully it's quick and to the point

"Eerie Canal" (8:47) begins with heavy metal chords sustaining with a guitar lick rambling over them and then bursts into a chugga guitar riff and then turns into anthemic type of melody and then turns into a lightning fast guitar riff and then thrashy metal riffage. This is already more interesting than the rest of the album combined. It stays thrash riffage for a while and then adds a solo and then jumps into the hyperdrive riffage again. As it continues it trades off heavy passages with mellow ones and the riffs recur but are different enough to make it feel like a real song instead of some canned jam session. I like this one!

Thank bleep for the last two tracks. I was getting pissed after the first two overlong filler tracks. Overall this one is average. Two weak tracks, two much better ones. Average is average and half of 5 is 2.5 rounded down

 Pitch Dark by BUCKETHEAD album cover Studio Album, 2014
1.22 | 4 ratings

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Pitch Dark
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

1 stars BUCKETHEAD - PIKE 50 - PITCH DARK

9th album out of 60 in 2014 and 80th overall

All sounds brought to you by Buckethead and all instrumental

This one has 3 tracks that clock in at 29:58

"Pitch Dark" (12:42) begins slow and mellow with a clean somewhat echoey guitar riff, bass and drums. As it continues i'm realizing this is yet another one of those overlong mellow tracks that repeats the same riff promoting the kind of apeirophobia (fear of infinity) that only BUCKETHEAD can dish out with these boring and rather pointless types of tracks. How many of these sorts of albums need to be made? While a few like "Electric Tears" were actually brilliant in how they were constructed, this just loops like a record that skips. Yeah, there's subtle variations and it does pick up a bit at the end with bluesy solos and all but there's just not enough to ever want to hear this again :(

"Drifting Ice" (8:03) begins with clean guitar parts, bass and drums on slow speed. This one is more echoey and the guitar lick part is semi-distorted. This one is a little more melancholy in its sound. Well, as feared this is as exciting as "Drifting Ice." It glaciates its meandering melodic recurrences with frosty guitar licks superimposed upon them. This is another one we've all heard a million times before as just like a piece of ice floating randomly on a mountain lake takes its sweet time to go nowhere. Yawn

"Water Drops" (9:13) is yet another placid, inoffensive piece of easy listening with clean guitar riff, bass and drums. Slightly different melodic development than the rest but same overall song structure. It has the same echoey guitar which is nice and the tones are quite pleasing but once again we're given a recycled pile of goods. There have been so many tracks like this on previous PIKEs i've lost track. BH has proven he can create beautiful mellow tracks just as awesomely as his heavy metal rockers but when he's on automatic pilot he just pumps out one recycled piece of filler after another.

Another complete of a dud for an album. Nothing on here is remotely original, interesting or worth the time of day unless you simply can't get enough of this formula and long for another release of it. Not me

 Monument Valley by BUCKETHEAD album cover Studio Album, 2014
3.04 | 6 ratings

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Monument Valley
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars BUCKETHEAD - PIKE 49 - MONUMENT VALLEY

8th album out of 60 in 2014 and 79th overall

All sounds brought to you by Buckethead and all instrumental

This one has 4 tracks that clock in at 29:32

"Monument Valley" (7:17) starts things off on mellow mode with clean guitars, a nice bass and minimal percussion. While i usually dislike these mellow albums by BUCKETHEAD because they all tend to sound the same, this one is sounding a bit nicer than many of these by-the-numbers releases. This one has a nice sort of military march percussive drive at times but why this one works better than others is because it doesn't drown out the mellow vibe with too harsh of percussion. The string section is also more intricate and the melody is actually pleasant to listen to. There are more variations than the average mellow track and this one is actually of the quality found on albums such as "Electric Tears." No mellow is not a bad thing, but boring is and this one is not that

"Fembot" (11:47) begins a little more upbeat but not much with echoey clean guitars, a very electronic drum beat and a bass. This is a bit different as the guitar is slow and mellow and the drum is a bit more hyperactive. There is also some ambient background swirling of sounds to offer some atmosphere as well. Nope. These elements don't work together well for me. I just find the whole thing unsatisfying. First of all, the riff is the same recycled mellow progression that a million of these mellower tracks on PIKEs offer and the electronic drums are woefully not suited. Give this one a miss because it more than outstays its welcome. Hell it's not even welcome

"Attic Floor" (1:19) is another clean guitar mellow track that begins unaccompanied and stays that way. It's basically an intro to the next track

"Lirtson Nostril" (9:09) picks up the mellow guitar sequence and expands it. It becomes two guitar parts working together to create a richer tapestry of sound with the bass and cymbal action underneath it all. This one is cool in that i has different segments. It doesn't just repeat the mellow parts to infinity. It picks up steam in the middle with a heavier plucked bass and bluesy guitar licks around it. It reverts back to the mellow parts but has some variety which keeps me interested. It is a nice lush mellow dreamy soundscape that really does feel like a fluffy cloud gently rolling over the great desert landscapes of the American Southwest as depicted on the album cover

This album is half good, half not. The title track and "Lirtson Nostril" are actually quite good for BH's mellow album material but the other two tracks sandwiched in the middle are pretty much business as usual with nothing exciting to add but still about 2/3 of the album i like

 Hide In The Pickling Jar by BUCKETHEAD album cover Studio Album, 2014
2.86 | 3 ratings

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Hide In The Pickling Jar
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars BUCKETHEAD - PIKE 48 - HIDE IN THE PICKLING JAR

7th album out of 60 in 2014 and 78th overall

All sounds brought to you by Buckethead and all instrumental

This one has 4 tracks that clock in at 30:52

"Hiding In The Pickling Jar" (9:21) begins with a heavy bluesy rock guitar line before breaking into funk rock and then becomes haunted house guitar lick and then just a funky bass line and then a keyboard spooky riff and then wah-wah infused funky bass. Well, you get the picture. This changes things up every few measures with funk, blues and avant-garde strangeness. The steady drum beat keeps it all churning along fairly steadily but there are some strange time sig changes that serve as transitions to other segments but basically this marches on in 4/4 timing while changing the whole atmospheric mood setting often. Around the four minute mark it becomes heavy distorted metal and then it starts changing things up in a metal context. As the track progresses it gets loud, it gets mellow, it changes up the timing a little and ventures all over the place. This one is pretty cool and probably the only song title ever to reference a "Pickling Jar!"

"Countersunk" (7:41) begins less frenetic with a slow, clean and mellow guitar and then breaks into a higher distorted guitar riff and then reverts back to the clean guitar and then back to the grungy guitar riff and it pretty much follows this pattern. The melody is pretty much the same and nothing exciting actually. This is very much like a million other PIKE tracks only the different styles have been mixed up which makes it more interesting. It does add more bluesy elements and production effects as it proceeds with a heavy echoey almost foghorn type sounding type of distortion. This one turns out to be varied enough to be pretty cool itself but not as good as track one

"Squirrel On A Perch" (3:45) is a funky rocker that reminds me of the best of the 70s with a heavy funky bass line and lots of guitar licks dancing around. While not bursting with originality, it is a pretty cool slice of funk rock that immediately brings Hendrix to mind

"Sabertooth Saw" (10:05) starts out as another funky rocker. This one is trades off heaviness with cleaner funkiness. It has a basic melodic development and doesn't deviate too much from it throughout its run. It has some moments of staccato chord heaviness and other heavy production induced fuzziness freak outs but really just sticks to the melody underneath it all. This one is ok but not terribly exciting either. Certainly not worthy of its time length.

This PIKE starts out fairly good with the first two tracks being of interest but the last two while not bad aren't super exciting either. There's enough on this one to call it good but not essential. Especially after a super exciting album like PIKE 47

 Roller Coaster Track Repair by BUCKETHEAD album cover Studio Album, 2014
3.87 | 4 ratings

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Roller Coaster Track Repair
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars BUCKETHEAD - PIKE 47 - ROLLER COASTER TRACK REPAIR

6th album out of 60 in 2014 and 77th overall

All sounds brought to you by Buckethead and all instrumental

This one has only 2 tracks that clock in at 30:06

"Room 7" (15:21) begins fast and furious with heavy thrash metal riffs and scorching guitar solos right from the beginning. What a contrast to the previous PIKE :P This one is as energetic as it gets. The solos are the loose electrical wires on the gonad type of wankery just whizzing up and down the scales at a million miles per second. The guitar antics continue with strange guitar licks as well. This one basically continues an extreme parade of variations for the ultimate guitar abuse workout. This is probably the most extreme, lengthy and energetic guitar tracks i've ever heard not only from BUCKETHEAD but from any given shredder out there. This is one is spectacular not only because of the skill sets needed to pull off this guitar playing Olympic marathon run but because the bass has interesting counterpoint melodies at times and it all feels like a metal band swirling around in a vortex at times. Pretty cool! Despite the lengthy time span, this one keeps things changing up and therefore quite interesting!

"Room 12" (14:45) starts off with a weird staccato guitar chord and then without mercy is accompanied by a rip roaring guitar solo at a million miles per second. This track is less thrashy although it's equally as intense. This one incorporate more alternative metal chord backings with lots of dissonance and time sig freak outs occurring and then being accompanied by more face melting (beneath the mask of course) freak outs and making it clear why BH's hands are surrounded by yellow energy fields on the album cover. This one has melodies that come and go and kind of morphed into one another with some being very circus like. As it continues it really is like riding a roller coaster where the speed and twists and turns are just like everyone's favorite amusement park ride. And then it dawns on me that this album is supposed to be the entertainment while the ride is under repair and it's supposed to simulate the riding experience. Bravo!

This is one of BH's most progressive and hard hitting albums and instantly jumps to the top of my PIKE list as it contains all the ingredients that i love most by the chicken lover. It is over-the-top aggressive, highly experimental and progressive and unpredictable in that it changes things up often in bizarre and unforeseen manners. It is relentless and not for the faint of heart. It is a rare glimpse into the fully unleashed nature of BUCKETHEAD who is capable of some of the most advanced pyrotechnic guitar workouts in the musical world and also sews them all together with pseudo-jazzy meets extreme metal valor. If you loved the extreme metal prowess of "Twisted Branches" or "You Can't Triple Stamp A Double Stamp" then this one was made for you!

Excellent! 4.5 rounded down

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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
ANNEKE VAN GIERSBERGEN (AGUA DE ANNIQUE) Netherlands
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 ÷YSTER 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 MŃQUINAS 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 ANDR… Italy
CHRISTIAN D…CAMPS 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
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