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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 | 866 ratings
LED ZEPPELIN IV
Led Zeppelin
4.34 | 614 ratings
QUEEN II
Queen
4.27 | 711 ratings
A NIGHT AT THE OPERA
Queen
4.27 | 712 ratings
PARANOID
Black Sabbath
4.20 | 643 ratings
BLACK SABBATH
Black Sabbath
4.20 | 592 ratings
SEVENTH SON OF A SEVENTH SON
Iron Maiden
4.21 | 513 ratings
ARGUS
Wishbone Ash
4.16 | 411 ratings
THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS
Bowie, David
4.14 | 547 ratings
POWERSLAVE
Iron Maiden
4.16 | 384 ratings
RISING
Rainbow
4.18 | 294 ratings
HUNKY DORY
Bowie, David
4.09 | 564 ratings
SABBATH BLOODY SABBATH
Black Sabbath
4.09 | 529 ratings
MASTER OF PUPPETS
Metallica
4.04 | 650 ratings
PHYSICAL GRAFFITI
Led Zeppelin
4.05 | 417 ratings
RIDE THE LIGHTNING
Metallica
4.17 | 178 ratings
SECRET TREATIES
Blue Öyster Cult
4.02 | 554 ratings
MASTER OF REALITY
Black Sabbath
4.04 | 421 ratings
HEAVEN AND HELL
Black Sabbath
4.00 | 703 ratings
LED ZEPPELIN
Led Zeppelin
4.18 | 142 ratings
REMAIN IN LIGHT
Talking Heads

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Latest Prog Related Music Reviews


 Ismism / Snack Attack by GODLEY & CREME album cover Studio Album, 1981
1.79 | 11 ratings

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Ismism / Snack Attack
Godley & Creme Prog Related

Review by DrömmarenAdrian

2 stars How strange it can be! 1981 the two separated parts of 10cc sounded so different from each other. 10Cc played soft and melodic pop and Godley & Creme did some form of experimental rap pop. The year 1981 was thirty-four years ago and these guys were acting in a confused time when prog rock wasn't popular anymore and it wasn't strange that they were experimenting with new genres.In fact they had always doen that. "Ismism" is the fourth studio album by Kevin Godley and Lol Creme which also paly all instruments without saxophone which is played by Bimbo Acock here. That is in fact a powerful and frequent instrument on this album. The cover design isn't remarkable but fortunately the music is more interesting.

The album consists of nine songs which are quite similar in style and feeling. It is a humble feeling laying over it and it is dressed in an electronic, modern rap style. I call it rap but it has very few similarities with the music people usually refer to as rap. One similar form of singing is of course Murray Head's rap on "One night in Bangkok". My, and other people's low rating of this album could make you believe this isn't good at all. But actually I am quite positive to what Godley & Creme did here. They experimented a lot and some songs here are enjoyable, intelligent and worth listening to. The vocals are fine and especially in the two humble quite ordinary songs "Under your thumb"(6/10) and "Sale of the century"(7/10) you can get the feelings from some of 10cc's best moments. The last mentioned track is in my opinion very nice. I also like the opening track "Snack attack"(7/10). Beside these mentioned songs this album is rather boring. All songs are well performed and there is something interesting everywhere but I think this new thinking of rap and electronic sounds was to much here. The band could have done a more varied record. I would also have liked this record more if the tops were higher.

My song to song rating ends at 2.44 which makes this a two star rating. 5/10 would have been more fair and to be honest I must say that "Consequences" isn't so much better than this. But "Ismism" unfortunately is a step down from "Freeze Frame".

Best tracks: Sale of the century, Snack attack, Under your thumb

 Bucketheadland Blueprints by BUCKETHEAD album cover Studio Album, 1991
1.91 | 4 ratings

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Bucketheadland Blueprints
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

2 stars BUCKETHEADLAND BLUEPRINTS is a nebulous release by the masked one. This is really nothing more than a demo that claims to be released in 1991 on cassette only but others claim that it was never readily available to the public at large until the remastered version emerged in 2007. Well, matters it not to me one way or the other. This is very much a demo of different ideas that hadn't yet fully developed that would be incorporated on future full official releases. Most tracks are short and close to the two minute mark but a few are over the five.

Most of the sounds that would evolve are in their nascent forms here. We get samplings and other plunderphonics mixed with electronica and funk metal guitar and scorching solos including much of BUCKETHEAD's avant-garde trademarks. There is really no cohesion to this bunch of tracks at all and they are simply ideas that seem random and never meant for public consumption. While the album as a whole is lackluster it is clear that BUCKETHEAD was an emerging talent from the musical variations and virtuosic ingenuity.

This is truly one for the most dedicated completists. This is probably one that was better left in the chicken coop but since BUCKETHEAD's marketing strategy is similar to Frank Zappa's meaning that he releases every single thing ever recorded no matter how good or bad, it is no surprise that this saw the light of day despite it not being the tastiest two dozen eggs minus one from the hatchery. Not horrible but definitely not even remotely essential.

 Look Up There by BUCKETHEAD album cover Studio Album, 2011
4.00 | 5 ratings

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Look Up There
Buckethead Prog Related

Review by Xonty

4 stars Wow, Buckethead is finally on ProgArchives! About time! Anyway, I thought I'd review this particular record of his from that everlasting discography (whoever's updating it btw, I am eternally grateful unto you), because it's without a doubt my favourite. It should seriously be heralded amongst "Colma", "Electric Tears", and other exalted albums. It came out soon after I discovered Buckethead, and I've got to say this early pike has something else going for it. Almost, but regrettably not quite "masterpiece"-worthy, I'm giving this an extremely high 4-stars. "Look Up There" consists of two lengthy improvisations...

"Golden Eyes" kicks off the album, with a strangely warming and inticing theme, played on a shrill, slightly wah-wah guitar. He basically retains this tone throughout the song, and the relatively high register he plays on the guitar is consistent, so I'd have to say it's a little restricted in the big picture. However, the remainder of the track displays many great techniques, appreciative for even non-guitarists/musicians. Towards the end, he also employs some of his trademark robotic "killswitch", but in a slightly new light. In addition, he ends on some more variety with an octave pedal (reminiscent of that used on "Soothsayer" years before). These last few minutes definitely portray the potential Buckethead had to include on "Golden Eyes", but they were unfortunately not all carried out. The end result is therefore a little inconsistent, but the dexterity and soulfulness exhibited here make it stronger. He clearly has the ability side nailed, so I wish he focused a little more on composition, or at least organising his improvisations. Nevertheless, you must remember these are the few flaws to an outstanding piece.

The title track undergoes a gradual change throughout, that peaks and dips in a very controlled moderation, with some nice unexpected turns here and there. The entire song (like "Golden Eyes") is guitar-led, with a fitting drumbeat and bassline, plus some occasional synths. You hear many different themes or intricate riffs, almost reeled off in the intro, which culminate when Buckethead commences his improvisation with an excellent, comforting timbre and well-executed rhythm track. As a guitarist, I find it incredibly easy to get lost in the music on "Look Up There", as Buckethead pulls out familiar lines, ear-catching melodies, in addition to hypnotic tone-based parts and his signature shredding, but still keeps it incredibly soulful. The whole time, you're right there in the moment, enjoying the serenade of a guitar god jamming with himself. Technically speaking, there is no change in key or backing throughout the latter 20 minutes, so it's really a freeze-frame that depicts whatever you envision/wherever he takes you when you listen. The subtle but spectacular sonic alterations help you on this "journey", as you stand in a brief absentia, free of time. All too soon, he begins to faintly fade away into oblivion, almost suggesting he's still out there doing his thing.

B+: Without doubt, as good as modern guitar music gets. A unique record, extremely well done given the limited resources he utilises.

Golden Eyes: **** Look Up There: *****

 10 Out Of 10 by 10CC album cover Studio Album, 1981
2.89 | 28 ratings

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10 Out Of 10
10cc Prog Related

Review by DrömmarenAdrian

3 stars What happened 1981, thirty-four years ago, you may question. Then I'll tell you: that what the year of the release of 10cc's eighth studio album "Ten out of 10". It had passed one year since their last effort "Look hear" from 1980 and on this occasion the line up of the band was Graham Gouldman, Eric Stewart, Rick Fenn, Vic Emerson(mainly keyboard) and Paul Burgess. They had help from the guest musicians Andrew Gold, Keith Bessey, Simon Phillips, Lenni Crookes and Marc Jordan. Their last album was quite pleasant but did not stand out. Here comes my review of Ten out of 10:

On the cover we see Graham and Eric standing at the edge of a house high over the city. One of them seems scared, the other calm. The light and the colours are quite new and sophisticated. In many ways the music of 10cc 1981 was quite similar to that of the year before. There seems to always be quality and a piece of intentions to write smart music in the world of 10cc. Just as on "Look Hear" this record is decent to listen to and you can enjoy it again and again. But where the really interesting and outstanding songs were none existing 1980 I found some gems 1981. Even if I could recommend you to hear the whole album three songs are better than the others. We have "Les Nouveaux Riches"(8/10) which is quite long. The song has a French title, an idea that was successfull 1975 and it is this album's most intriguing and fine song. It is well performed and has a smart arrangement, the vocals are excellent too. "Don't ask" which starts the album is a sweet track as well(8/10) and "Notell Hotel" is a song that I like because it has intentions(7/10).

There and there over the whole album I also found pieces I really liked, fine guitar solos, vocal harmonies and lyrics. Often the songs are performed in a poetic way that is very appealing. The saxophone solo on "Don't turn me away" should be mentioned as well as the last song, a sugary piece of the eighties: "Survivor". So "Ten out of 10" has improved a bit since the last album but still it isn't what it had been. The songs are nice but not very interesting over all.

I give it three stars! Best tracks: Les nouveaux riches, Don't ask, Notell hotel

 Listen For The Whisper by BUCKETHEAD album cover Studio Album, 2014
4.00 | 2 ratings

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Listen For The Whisper
Buckethead Prog Related

Review by admireArt
Collaborator PSIKE Team

4 stars If Hendrix's spirit ended up somewhere, here it could rest peacefully for a while!

BUCKETHEAD's "Listen For The Whisper", 2014, breathes that same highly inspired psychedelic creativity that another USA's guitar virtouso once withheld with such energy, as other USA's guitar magicians (non-progger Stevie Ray Vaughan included) breathed up there in the realms of the guitar based Blues country.

" Listen For The Whisper" consist of two 14+- minutes long instrumental compositions, that are backed up by the simple bass/drums formula and as guessed up-fronted by a multi-track extraordinary and flawless electric guitar, that travels through a very post-math blues/rock environment, full of timeless riffs and licks highlights as BUCKETHEAD's amazing performance dwells in impeccable tours de force, that both Jimmies will certainly look up in admiration (Jimmy Page of course).

A non-stop trip through the modern ways of Prog's guitar Post/Math/Related/ Rock, that is as appealing as uncompromising and pure emotionally charged electric guitar FUN!

****4 "essential, not that far from masterpiece" PA stars.

 Passageways by BUCKETHEAD album cover Studio Album, 2014
4.05 | 3 ratings

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Passageways
Buckethead Prog Related

Review by admireArt
Collaborator PSIKE Team

4 stars An evocative and slow-paced BUCKETHEAD, could turn out to be probably, the best BUCKETHEAD version of himself

One of my favorite Buckethead (Brian Patrick Carroll) releases, of the zillion cds/downloads, this USA multi-instrumentalist launches each year, "PASSAGEWAYS", 2014, sets itself apart mainly because it is truly poetic in a very uncommonly way for this musician's more upbeat and hard/metal "rocking" musical manners.

Of course its musical direction reaches top of the game Blues/Alt-Rock/Post/Math-Rock altitudes, but far from doing just that, it is inescapable to realize Buckethead's songwriting as performing skills, in a highly emotionally inspired and creative slow/mid tempo environment, come to such non-stop tours de force with extremely focused and subtly-rich compositions and so many perfect-pitch highlights as a 30 minute album could hold.

A prog related artist whose own self-aquired musical idiom trascends taggings and certainly is more than a guitar player virtuoso.

****4, "essential" prog-related release, that will certainly appeal to all kind of prog audiophiles, PA stars.

 Who Knows Where The Time Goes? by FAIRPORT CONVENTION album cover Studio Album, 1997
3.71 | 10 ratings

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Who Knows Where The Time Goes?
Fairport Convention Prog Related

Review by SteveG

4 stars The last of my later day Fairport Convention album reviews concludes with this gem from 1997. Who Knows Where The Time Goes is a transitional album that ushered in new man Chris Leslie before he put his own indelible stamp on the band's sound with own songwriter and lead vocals. This is also the last album to feature the mighty Dave Mattacks on drums and I don't think that it's a coincidence that album still maintains the more rocking sound that has a been a hallmark of the band's sound since he joined the FC for the Liege And Leif album way back in 1969. His energy seemed to invigorate the band, especially rhythm mate bassist Dave Pegg who is clearly animated on many of the albums tracks when it's appropriate.

The album starts off with a deft retelling of the Traditional song John Gaudie that's sung by new man Leslie and features many Trad. instrumentals as well as a catchy manic chorus. The evergreen Simon Nichol picks up vocal duties for now on starting with another Trad. tune reimagined in Fairport's image, but it's a fine ballad this time around titled Sailing Boat before the band cover's yet another great song from contemporary songwriter Steven Tilston before exploding into a wonderful jig penned by the ever enthusiastic Ric Sanders called The Bowman's Retreat. This song was written to feature both Sanders and new man Leslie trading violin leads which are done with speed and beauty.

The album also features one of the bands last hard rocking songs, Spanish Main, that feature both Nichol and Leslie on dealing electric guitars on the songs brief but stunning coda! It's that type of album.

As a bonus, the album includes and incredible live performance of the band doing a cover of the Motown standard Heard It Thru The Grapevine that's song with aplomb by former member Richard Thompson with horn accompanist and soulful female backing vocals on the chorus.

As if that wasn't enough, the album closes with a moving live edition of the Sandy Denny classic Who Know Where The Time Goes sung beautifully by Nichol. As this is not a song he has sung live often, given the requirements of it's vocal range, I can only assume that this is a rare performance of the song by Nichol that he absolutely nails as he pitch perfect.

Who Knows Where The Time Goes is another testimony to FC's eighties and nineties creative and performing resurgence and, more than that, it's an album that should be in the possession of every fan of Fairport Convention. 4 stars.

 Bucketheadland by BUCKETHEAD album cover Studio Album, 1992
3.13 | 4 ratings

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Bucketheadland
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars Once BUCKETHEAD got his feet on the ground there was no stopping him. After a gazillion albums and collaborations all these years later, there was a beginning. The year was 1992 when he worked with Praxis on their debut album but it was also the year when he released his first album BUCKETHEADLAND on John Zorn's label Avant with Bootsy Collins from the Praxis along for the ride. It was only available as a Japanese import but this dude was weird enough to stand out amongst the crowds of increasingly gifted guitarists in the world. The album, like most of his is a bizarre mix of funk, metal, samples and DJ electronica. In fact everything that BUCKETHEAD is known for debuts right here.

The album contains two discs. One of the strange ride through BUCKETHEAD's imaginary amusement park which provides a collage of musical extravaganzas, spoken word, movie samples, strange sound effects and DJ house beats. The second disc is a short 16 minute remix disc that has a few select tracks more pumped up for a housequake party without diminishing any of the other qualities such as his frenetic lightning fast metal guitar solos.

Everything BUCKETHEAD may be on display here but at this point he hadn't quite honed his sound down into a cohesive whole. The album is really all over the place, which is both it's downfall and what makes it interesting. Although I prefer the more refined albums that come later, BUCKETHEADLAND is still a unique and interesting piece of music in its own right. Not an album that a sane person could spin every day perhaps but when the mood for something really, really weird hits then taking a ride on this roller coaster ride is just what the doctor ordered. 3.5 rounded down because future releases are so much better

 La mort d'Orion by MANSET, GERARD album cover Studio Album, 1970
4.18 | 15 ratings

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La mort d'Orion
Gerard Manset Prog Related

Review by Artpop

4 stars

In the early 70's the French EMI/ Pathe label released a handful of wonderfully weird albums that have long been sought after by collectors and music fans alike. Personally I'd like to give a big round of applause to their A&R department whoever they were or whatever they were on as this was some seriously creative stuff. Guy Skornik's trippy 'Pour Pauwels', 'Puzzle' by Michel Berger which shamefully has yet to be reissued, avant-garde composer Igor Wakhevitch's stunning 'Hathor' and Gerard Manset's 'La Mort D'Orion' are works that should be heard at least once by anyone with a remote interest in progressive pop and art rock.

.

Gerard Manset is something of a renaissance man. Raised in suburban Paris, he's a musician, painter and travel writer with a vast catalog of albums that all have something to recommend although it's 1970's 'La Mort D'Orion' (The Death of Orion) that is widely considered his masterpiece. A science fiction concept album, it's a dark journey but space rock this is not. This is orchestral pop twisted into modern classical music akin to some of Franco Battiato's output. The opening title track clocks in just shy of 25 minutes and it's a remarkable piece of music. A small string quartet leads to a spoken word piece by Manset, followed by a female operatic interlude and light East Indian raga all within a minute and a half. Astounding and Manset's voice is wonderful on 'Vivent Les Hommes' (Living Men) backed again by soprano vocals and a crescendo of strings and piano while 'Le Paradis Terrestre' (Heaven on Earth) alternates between opera and pop effortlessly.

My command of the French language is non-existent, but that has never interfered with my enjoyment of this album. It's one of a kind and should be bookended with the Serge Gainsbourg classic 'Historie de Melody Nelson' and William Sheller's dazzling 'Lux Aeterna' as the best in early 70's French music.

 Next by JOURNEY album cover Studio Album, 1977
2.91 | 67 ratings

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Next
Journey Prog Related

Review by Artpop

4 stars

As the Bicentennial eclipsed into the denim clad, brown-out year of 1977, the American rock landscape was changing quickly. Punk had made a big dent on the media psyche, championed by pointy-nosed critics and record execs looking for the next big thing. Adding to the upheaval the birth of AOR radio was in play, riding high with Boston's glorious debut and 'Frampton Comes Alive!'. The public's taste for prog rock and extended jams seemed to be effectively over although apparently Journey never got the memo. Their manager, the ever colorful Herbie Herbert understood, feeling some not exactly subtle nudging from CBS who applied pressure when 'Next' out of the starting gate, failed to chart significantly.

It's not too hard to understand the label's position since there really wasn't anything they could seriously push as a single. Released in February and pitted against the top 20 of that month which included Aerosmith's 'Walk This Way', 'Year of the Cat' and Manfred Mann's 'Blinded by the Light' not to mention the unleashing of Fleetwood Mac's soft rock monster 'Rumours' which was only beginning to eat up the charts; 'Spaceman', decent song that it was sounded downright boring. The remainder of the album is a wild guitar extravaganza with both Neal Schon and Gregg Rolie chipping in on vocal duties. As a guitarist Schon has few peers but here he sounds like a bird set free with blazing fretwork on the rolling fusion of 'People' and the smoking hot 'Hustler'. The title track is possibly the best cut here but it pales in comparison to the live versions heard on the 1978-79 tours with Steve Perry sharing lead vocals.

Journey spent the early part of the year on the road as both headliner and support act to a wide range of groups including Black Sabbath, Kansas, Outlaws, Boston, Styx and even pomp rockers Angel and Starcastle before picking up vocalist Robert Fleischman for a change of direction. That didn't exactly work out as planned with Perry brought in as a ruse on a smattering of dates with ELP before Fleischman was fired. The rest is history.

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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
AGUA DE ANNIQUE Netherlands
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
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
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
HELP YOURSELF United Kingdom
KEN HENSLEY United Kingdom
ROGER HODGSON United Kingdom
HORIZONT Sweden
INDIGO Austria
IRON MAIDEN United Kingdom
JACKSON HEIGHTS United Kingdom
JAPAN United Kingdom
JEAN-MICHEL JARRE France
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 / KORNELL KOVACH Yugoslavia
KREUZWEG Germany
GREG LAKE United Kingdom
LANA LANE United States
LED ZEPPELIN United Kingdom
GEDDY LEE 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
PAGE AND PLANT United Kingdom
THE PARLOUR BAND United Kingdom
ALAN PARSONS BAND United Kingdom
PHISH United States
I POOH Italy
DAVORIN POPOVIC Yugoslavia
PRIMUS United States
QUEEN United Kingdom
RAIN FOR A DAY Germany
RAINBOW Multi-National
TERRY RILEY United States
LAZA RISTOVSKI Yugoslavia
ROCKFOUR Israel
MIKE RUTHERFORD United Kingdom
SADISTIC MIKA BAND Japan
SATIN WHALE Germany
SERU GIRAN 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
VANGELIS Greece
VICTOR Canada
OLIVER WAKEMAN United Kingdom
WALRUS Japan
JOHN WETTON United Kingdom
WHALEFEATHERS United States
WHEATSTONE BRIDGE United States
WHIMWISE United Kingdom
WHITE United Kingdom
WISHBONE ASH United Kingdom
THE WISHING TREE United Kingdom
ERIC WOOLFSON United Kingdom
ZON Canada

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