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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

4.38 | 826 ratings
LED ZEPPELIN IV
Led Zeppelin
4.35 | 580 ratings
QUEEN II
Queen
4.27 | 679 ratings
A NIGHT AT THE OPERA
Queen
4.25 | 670 ratings
PARANOID
Black Sabbath
4.20 | 558 ratings
SEVENTH SON OF A SEVENTH SON
Iron Maiden
4.22 | 481 ratings
ARGUS
Wishbone Ash
4.19 | 602 ratings
BLACK SABBATH
Black Sabbath
4.16 | 389 ratings
THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS
Bowie, David
4.12 | 511 ratings
POWERSLAVE
Iron Maiden
4.16 | 360 ratings
RISING
Rainbow
4.18 | 278 ratings
HUNKY DORY
Bowie, David
4.09 | 506 ratings
MASTER OF PUPPETS
Metallica
4.08 | 526 ratings
SABBATH BLOODY SABBATH
Black Sabbath
4.03 | 617 ratings
PHYSICAL GRAFFITI
Led Zeppelin
4.10 | 272 ratings
HOUNDS OF LOVE
Bush, Kate
4.17 | 165 ratings
SECRET TREATIES
Blue Öyster Cult
4.01 | 521 ratings
MASTER OF REALITY
Black Sabbath
3.99 | 674 ratings
LED ZEPPELIN
Led Zeppelin
4.03 | 393 ratings
HEAVEN AND HELL
Black Sabbath
4.02 | 395 ratings
BRAVE NEW WORLD
Iron Maiden

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Latest Prog Related Music Reviews


 Deserter's Songs by MERCURY REV album cover Studio Album, 1998
3.54 | 35 ratings

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Deserter's Songs
Mercury Rev Prog Related

Review by TCat

4 stars The wall of dissonance and chaos came down somewhat on the previous album "See You On the Other Side" but still remained to some extent. The recording procedure for Mercury Rev up to this point had been to record the bare bones of the song and then add layer upon layer of mostly guitar driven dissonance so the sound was chaotic, yet by the 2nd album, they had learned how to make the chaos work for the music and created some very original and wonderful music. On "Deserter's Songs" however, things change in that instead of so much guitar induced sound, the layers are created by orchestral sound and keyboards. This give a much lusher sound to the music and is so much easier to digest. The guitar is still there and an electronic saw keeps things psychedelic in some places on the album. This is a beautifully done album and it was a big step towards the next album which is a masterpiece. In the meantime, this is a great album that shows the progress made towards that masterpiece.

However, this lovely lush layered sound came about after a lot of hard times. This album was supposed to be their swan song. Since the previous album had sold so poorly, the plan was to disband after this album was recorded. However, unseen help from The Chemical Brothers who helped push this album, time spent recording in the Catskills and help on the tracks "Opus 40" and "Hudson Line" from both Levon Helm and Garth Hudson (both from The Band) helped them get their heads together and got them to focus on making this album become the best they could put together at the time. Thank goodness for this outside help, because without it "All is Dream" would never have been created.

So, the loud chaotic sound from before was completely changed making for a more lush, beautifully orchestrated wall of sound, sometimes still dissonant, sometimes harmonic, it all works together to make a nice soothing and at times a little harsh sound. That contrast works so well throughout the album, but would work even better on "All is Dream" This album is definitely worth listening to and it is easy to see how the technique would get even better to produce the masterpiece that would come next. Still this is a lovely recording full of great prog moments and original sound. This album is definitely an excellent addition to any prog collection. Original, beautiful, at times vulnerable, harsh overtones but not enough to put you off, this is an album that should be explored and it has more progressive elements than what you might expect. Great stuff and a foreshadowing of even better yet to come.

 The Man With The Child In His Eyes by BUSH, KATE album cover Singles/EPs/Fan Club/Promo, 1978
4.05 | 2 ratings

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The Man With The Child In His Eyes
Kate Bush Prog Related

Review by Matti
Collaborator Neo-Prog Team

4 stars 'The Man With the Child in His Eyes' and 'Moving' are both outtakes from KATE BUSH's debut album The Kick Inside. I don't know in which order the album and its two singles - the other one being naturally the smash hit 'Wuthering Heights' inspired by Emily Bronte's classic novel - were released, but I think I've read somewhere Kate telling how the recording of 'The Man...' was the very first one. She was pretty nervous, and understandably so, with an orchestration backing her ethereal vocal performance. But unlike on some early live broadcast of 'Wuthering Heights' that I've seen on TV, nervousness doesn't show here. This song is among the softest she has ever done. The lyrics are perhaps rather naive, romantic daydreaming of a young introvert girl, but the composition is mature, as well as the arrangement. She was really lucky to work with exactly the right people. And WE the listeners are lucky!

'Moving' has always been among my favourite songs from that debut. She truly sounds like no one else; the dreamy song has a magical, otherworldly atmosphere. Wonderful songs, but five stars are in my principles reserved for singles that contain also a non-album track.

 10cc by 10CC album cover Studio Album, 1973
3.52 | 48 ratings

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10cc
10cc Prog Related

Review by TCat

5 stars For years, I had convinced myself that I was a huge 10CC fan based on a few songs that I absolutely adored and from hearing this album and "The Original Soundtrack". After finally having gone through all of their albums now several times, I find that the two full albums that I had originally are their best ones, with an honorable mention to "Bloody Tourists". All of the other albums I have finally given up on since I have only found a hand full of songs on them that I find interesting and the rest are just not living up to the original high bar that I had set with the band from the two previously mentioned albums.

So what makes this album one of the two favorites from this band? I love the variety here in the same manner that I love the variety in the best Queen albums. I love all the tweaks that they put in the simple melodies that elevate their pop music to a higher level, that actually begin to give pop music a progressive edge. On this album, most of the music is "sort-of" 50s and 60s style doo-wop and rock n roll, especially in the first 5 tracks, and there is absolutely nothing wrong with that. But, like I said before, they add little bits of ingenuity throughout that keep things interesting. The remainder of the tracks are more 70s pop oriented and all throughout the album, satire and sarcasm abound making it all a big poke of fun at the radio-friendly sounds that were around at the time. The humor is in the words as in "The Hospital Song" and "Sand in My Face". The humor is in the music too as in "Fresh Air for My Mama" which is as sarcastic of a ballad as you can get, so much so that if you are not careful, you might find your eyes welling up until you realize it's just making fun. Same applies to the song "Donna" which is a well sung poke at the simplistic lyrics of old 50s music and the utter silliness of it all, yet it is done so well that you can easily miss the humor of it all and think that it's in all seriousness. Subtle humor exists throughout and so does the subtleness of the progressiveness of the music, careful or you might miss it, which makes it even more enjoyable when you do get it.

Anyway, I have come to the conclusion that I was wrong initially by trying to base my love of this band on only hearing 2 great albums. I should have been more familiar with their discography, but at least I can say that they had 2 masterpieces when it comes to pop-progressive music because if anyone knew how to do it well, it was these guys at least twice, which is more than most pop groups who can't even get close to a 2-star album throughout their entire career. 5 stars. A progressive-pop masterpiece if there ever was one.

 Showbiz by MUSE album cover Studio Album, 1999
3.16 | 191 ratings

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Showbiz
Muse Prog Related

Review by siLLy puPPy
Prog Reviewer

4 stars SHOWBIZ is the debut album by indie / alternative rockers MUSE who managed to learn their craft of multi-genre fusion right on their first album. Actually these songs go back a few years and many of them appear on the first two EP s, but here they find a home on a full length album delivering an astounding array of influences and vocalist / guitarist / songwriter mainman Matt Bellamy pulling off his best Radiohead meets U2 vocal performances. Right on the very first track we hear some classical piano snippets that make up little rhythmic packets signifying a long lasting relationship with artists like Chopin in their mostly indie rock structured songs with a highly developed melodic catchiness absent from many acts in that particular branch of rock. Although MUSE is accused of ripping off Radiohead in many ways but especially in the vocal department I would have to slightly agree but really MUSE incorporate a million more influences than Radiohead's non-chalant space folk rock ever did. Matt Bellamy to me sounds like he took the Thom Yorke approach and infused it with a more passionate Bono style that can leave you instantly loving or hating this band. The comparison with Radiohead wasn't helped by the fact the producer of SHOWBIZ also worked on "The Bends."

MUSE is simply willing to try out anything and no influence is too strange or eclectic to throw in when it works. On the title track for example it sounds like Native American drumming that ushers in one of their punky alternative noise rockers as well as ending it, "Uno" starts off with some electronic noise followed by a tango bass line that is the backbone of the track creating a super catchy lead single that was well received in the UK. Although the influences aren't always as well woven together as they would be on the next few albums, this debut album is a lot better than I initially thought it would be coming to it after the following ones. The passionate delivery both vocally and instrumentally is in full force and so are the well written pop sensibilities incorporated into every track. I can easily listen to this entire album time and time again without skipping a single track. MUSE are masters of variety and that is not absent here. There are rockers and ballads. Angry outbursts, tender passages and lots of noise and myriad influences lurking beneath the surface. Overall a great start for this band who may shamelessly plunder the vaults of the sonic temples but at least they achieve interesting results in the end. 3.5 stars rounded up

 Pisara ja lammas 1 by ABSOLUUTTINEN NOLLAPISTE album cover Studio Album, 2012
4.09 | 4 ratings

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Pisara ja lammas 1
Absoluuttinen Nollapiste Prog Related

Review by Matti
Collaborator Neo-Prog Team

4 stars - The First Review of This Album -

This long-living Finnish band is for me among the most difficult ones to write about to an international prog community. Why? 1) They haven't gained much attention abroad, as far as I know, and understandably so for having Finnish lyrics in a central role. 2) They have a stable cult status here and they have been described as Finland's most even-quality band; each new album gets favourable reviews by critics who can mostly just circulate the same old phrases as the style stays pretty much the same album after album. And 3), I'm a relatively new listener of Abso. But this time there's at least something new to say.

This album and Pisara ja Lammas 2 (2014) form some sort of a rock opera with an obscure SciFi content quite hard to get into. The title means A Drop and a Sheep, and the characters are the Sheep (performed by Erkki Seppänen), the Woman (Paula Vesala of popular mainstream rock group PMMP), the Shepherd (Olavi Uusivirta, a popular solo pop artist), and a choir in the tradition of Greek tragedy. The Abso's main writer and vocalist Tommi Liimatta is the narrator, whose portion is at least 75 % of the whole. Everybody knows his limited, stiff vocal expression, a complete opposite to Roger Daltrey's fantastic multi-role contribution in THE WHO's legendary Tommy. This narrator-centred structure sadly decreases the operatic nature of the work; the guest vocals naturally bring some extra - especially the choir - but in the end not very radically.

But that, and the difficulty to understand the story, are not preventing this music to be Abso at their most inspired and exciting. The synths and guitars are used effectively in the very carefully constructed soundscape. Also from this point of view Pisara ja Lammas 1-2 is Abso at their most progressive. There are even some (mock-) orchestral nuances, and everything works very well. The music is both rather accessible and unpredictably interesting. The second album - which I may review sometime later - is stronger musically, but also this one is pretty rewarding - for all the old listeners and a bunch of new ones too, hopefully.

 Wintersmith by STEELEYE SPAN album cover Studio Album, 2013
3.21 | 5 ratings

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Wintersmith
Steeleye Span Prog Related

Review by SteveG

4 stars This is definitely an album that I have tried to play in the summer time with poor results. It's not because the album is bad. It's just too damn wintery in feel which makes it perfect for early December and the rest of the cold snowy season.

The Wintersmith, released last year (2013) is a collaboration between Steeleye and Discworld series author Terry Pratchett. Pratchett is the million selling author of young people's fantasy stories that are on par with the Harry Potter series of fantacies, just to give you an idea of what your in for.

Prattchett wrote the lyrics of Wintersmith, based on his novel of the same name, which deals with one of the seasons of nature , winter, taking on a corporeal form and falling for a village girl named Tiffany.

First off, I would have to say that between this concept and the folk hard rock fusion of the music, combined with trad. instruments like Northumbrian pipes, this is the most progressive outing from Steeleye Span that I've ever encountered and that was an unexpected delight.

The band drafted in uber producer Chris Tsanderides to engineer the album while Steeleye are still the producers. This helped to tone down Tsanderides' often shrill sounding production and resulted in an excellently heavy, but not overdone, rhythm section and some louder and more piercing electric guitar. it's not Deep Purple meets Fairport as some reviewers have made it out to be, but it is highly effective and a refreshing sound change for the band.

As the Wintersmith himself is a character, bassist Rick Kemp and guitarist Julian Littman alternate vocals with the evergreen Maddy Prior. I wish Maddy sang a bit more on this album but she is the incarnation of the heroine Tiffany, so it has to be. Kemp and Littman are both excellent vocalists, so fear not.

The album grabs you immediately with the Dark Morris song, a preview of the musical themes to come, before jumping in the brooding title track Wintersmith which teases with little telltale traces of the musical nuances that this album will soon offer and features the first of many great lead vocals from Kemp. Featured prominently is the Celtic tinged fiddle of 4 decade member Peter Knight, who more than anyone else, evokes a feel of the forest and the smell of pine into this music. The other member of note is long time drummer Liam Genocky, who pulls a few surprises with his deft drum work and percussion work.

Prior does her best "Annie Haslam' sweet sounding vocals on the songs Band Of Teachers and Hiver before both she and Kemp launch into the astoundingly propulsive Fire And Ice. Their vocal harmonies, along with Littman's, on the song's fantastic chorus is one of the album's many highlights.

After listening to the anthemic Crown Of Ice and the beautiful ballad First Dance, were off to the instrumental Dark Morris tune that sounds both maniacal and melodious at the same time. A virtual dance into the Wintersmith's dark cold world.

There are two beautiful ballads on this album, First Dance , elegantly sung by Prior, and the albums closer (when the Wintersmith eventually recedes due to on coming springtime) titled we Shall Wear Midnight. I believe the last is sung by Littman and instead of Kemp, but I'm not sure as it's still performed beautifully.

The album does have a few clunkers that drag out the running time like Wee Fee Men and the fairytale like The Good Witch, but all in all, it's a terrific album and one of the best ever produced by Steeleye Span. 4 Stars and I highly recommend it to fans of Folk Prog, especially to fans of both the Strawbs, Fairport Convention and Horslips. And remember, winter goes by quickly, so get it now.

 A Day At The Races by QUEEN album cover Studio Album, 1976
3.77 | 375 ratings

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A Day At The Races
Queen Prog Related

Review by TCat

3 stars I've always loved Queen's albums more for their variety than anything else. Which is possibly why this one has always been the album out of all of their best albums from "Sheer Heart Attack" to "Jazz" that rates the lowest. Yes it has some great tracks on it, but I miss the variety more than anything on this album, and it was just recently that I have realized this.

The best songs on here are "White Man", "Long Away", "Teo Torriatte" and "Drowse". The others I find too predictable for Queen and sounding too formulaic in Queens style and sound. There really isn't anything new in the remainder of the tracks, like they were copying what worked for them before. Since I consider the way they can take any style of music and turn it on it's ear and make it sound new and exciting the thing that makes them progressive, then that is why this album suffers in my opinion. Just pick up a copy of "Night at the Opera" and "News of the World", the albums that came before and after this one respectively. Listen to how much variety is on these albums and how each and every song sounds new and different and you'll see what I mean. Variety to a lot of people means inconsistency, but to me it makes the album exciting and unpredictable. That's my problem with this album. Not that it should be ignored, because there might be other reasons why you like Queen, but my reason is because of the way they made you never quite sure what was going to come next.

Anyway, there you have it. I call it good, but non-essential. But that's just my opinion and now I've told you why I feel that way. 3 stars.

 David Gilmour by GILMOUR, DAVID album cover Studio Album, 1978
3.48 | 195 ratings

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David Gilmour
David Gilmour Prog Related

Review by TCat

4 stars This is the first solo album by Pink Floyd's guitarist. It is basically a collection of enjoyable straightforward rock songs with vocals and a few instrumentals. There is nothing prog about it, but it is still a good album. Most of the songs are mid-tempo with meaningful lyrics, David Gilmour's excellent voice and stellar guitar playing. Nothing really stands out on it, the songs are very blues oriented rock and there really isn't anything challenging about it. However, I have owned this one on vinyl and CD for many years, and I do still enjoy listening to it. If you enjoy the more rock oriented music of Pink Floyd and you love David Gilmour's guitar style, you will love this album. The songs grow on you just like his songs do.

Not much else to add here. It's pretty much what you would expect if you don't expect any progressive rock. If you have that expectation out of the way, you will not be disappointed. It's an excellent way to round off your all exclusive prog rock influenced collection.

 Primus & the Chocolate Factory by PRIMUS album cover Studio Album, 2014
3.00 | 5 ratings

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Primus & the Chocolate Factory
Primus Prog Related

Review by Neu!mann
Prog Reviewer

3 stars On paper it looks like an off-color punchline: the art-thrashers of Primus, playing songs from the movie "Willie Wonka and the Chocolate Factory"...specifically the 1971 version, not the anemic CGI reboot directed by Tim Burton, described by Primus frontman Les Claypool as a "horrendous, horrible remake that left the taste of feces in our mouths".

But maybe the idea isn't so farfetched. There was always an element of childlike enthusiasm in Claypool's bass playing, matched to a not incompatible streak of adult subversion in Roald Dahl's original 1964 story. Claypool and company merely exposed the hidden underbelly of songs like "Candy Man", using sinister vocals and ominous marimbas (and yes: marimbas can be ominous).

The album is dedicated "to the wondrous talent of Gene Wilder" (and not Johnny Depp, please note), suggesting an attitude of humble tribute rather than satire. And the music itself was described by Claypool in a Rolling Stone interview as "early Peter Gabriel meets Dark Side of the Moon meets The Residents", with emphasis clearly on the latter influence. The anonymous avant- rock weirdos have inspired more than one Primus detour. And, like too many Residential efforts, this one also foregrounds the album's concept over its actual composition.

But it's a heck of a concept, even extending to the clever promotional gag of including 'golden tickets' in five vinyl copies of the album, entitling the lucky recipients to free Primus concerts for life. As Veruca Salt might have said, "I want it now!"...although doubtless without the same adenoidal growl used by Claypool, in his minor-key Arabian remix of the Leslie Bricusse / Anthony Newley song of the same name heard here.

Unfortunately, even with a showroom full of Lickable Wallpaper, Fizzy Lifting Drinks, and Everlasting Gobstoppers there isn't much substance to really sink your teeth into. Six of the fourteen tracks - almost half the album - stop well short of the two-minute mark, with the four- second (!) "Lermaninoff" ending before it actually begins. And the familiar "Oompa-Loompa" theme is played four times, just like in the movie, but in the same, more-or-less straightforward reading for each repetition.

The album might be almost too respectful of its source, never unleashing the full-funk beast of Claypool's bass guitar virtuosity. His awesome chops continue to elevate the instrument above its usual role as mere rhythmic support. But he spends more time bowing rather than slapping his bass strings here, careful not to disturb the quasi-classical arrangements of each updated song.

The "Pure Imagination" extolled by Willie Wonka, and typically the creative bread-and-butter to even a bass guitar-toting rebel like Les Claypool, is what's missing here. Maybe it comes alive in concert, but on disc the music remains little more than a curious and amusing novelty.

 Running Up That Hill (A Deal With God) (2012 Remix) by BUSH, KATE album cover Singles/EPs/Fan Club/Promo, 2012
2.00 | 1 ratings

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Running Up That Hill (A Deal With God) (2012 Remix)
Kate Bush Prog Related

Review by Star_Song_Age_Less

— First review of this album —
2 stars Firstly, Kate Bush is one of my favorite songwriters and performers. It therefore pains me to give anything of hers a measly two stars. However, Kate Bush's single "Running Up That Hill (A Deal With God) (2012 Remix)" is a double-edged sword of good meets tragic... the odd duck in Bush's already odd pond.

When I first saw that a remix of "Running Up That Hill" had been released, I was excited and purchased it immediately. I also listened to it with a huge grin on my face the whole time. I loved it. The new leading vocal track clarified a lot of words that I had not been able to understand before, and Bush's older voice had a richer depth. So I thought, "great!"

Then a few days later, I decided to listen to the old version on The Hounds of Love. I expected to feel disappointed and want to listen to the new one again, but that's not what happened. Instead, the old, unaltered version brought me to higher heights and did its old trick - which I had forgotten about - of greatly creeping me out in parts (in a good way - in other words, it was emotionally moving for me). After it had ended, I felt confused. Why had I had such a strong reaction to the old version?

I replayed the 2012 remix. Then I listened to the old version and the remix back to back several times. Here are the differences: - The instrument and backing vocal parts in the remix, for some strange reason, were transposed down a half-step. I don't mean that they re-recorded them - they clearly didn't - but that they electronically manipulated all the audio except for the original lead vocals down a half step. (??!?!?) Why make such a decision? I did some reading and found that it was to accommodate Bush's now deeper voice... which also seems strange. It's only a half step, it's not going to make a whole lot of difference to the difficulty of singing it... but the electronic manipulation dulled the sound of everything in the background. The original version was so much brighter! - The old lead vocals were scrapped and new ones recorded. The annunciation is much clearer now (which is why I was excited at first). There's some richness to the voice that wasn't there before, and the effect on her voice is slightly different. However, upon further listening, I just felt that the original performance was better because it sounded more passionate and dynamic.

So, the pros: clearer lyrics, vocal richness. The cons: dull sound to everything but the lead vocal, less passion.

Here's the thing I find weird - if Bush really wanted to re-do "Running Up That Hill," why didn't she just actually re-do it? If she was too busy (and she has been busy according to the Fish People website), why not leave the instrument tracks alone and just sing it more clearly? Sacrificing everything else to the lead vocal isn't a good compromise. Even weirder, this song had already been remastered along with the rest of The Hounds of Love.

All this said, if you are like me and you love Kate Bush, you probably want to get this anyway since the lyrics truly are much more clear. I enjoyed hearing the new performance even if it didn't bring me to the emotional height of the old one. However, if you are looking for a good introduction to Kate Bush or if you're just a casual fan, I'd advise you to skip this remix and go straight to The Hounds of Love.

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10CC United Kingdom
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ALWAYS ALMOST United States
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BRYAN JOSH United Kingdom
JOURNEY United States
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