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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 | 977 ratings
LED ZEPPELIN IV
Led Zeppelin
4.36 | 694 ratings
QUEEN II
Queen
4.53 | 200 ratings
BLACKSTAR
Bowie, David
4.28 | 826 ratings
PARANOID
Black Sabbath
4.27 | 804 ratings
A NIGHT AT THE OPERA
Queen
4.22 | 750 ratings
BLACK SABBATH
Black Sabbath
4.21 | 689 ratings
SEVENTH SON OF A SEVENTH SON
Iron Maiden
4.21 | 571 ratings
ARGUS
Wishbone Ash
4.21 | 536 ratings
THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS
Bowie, David
4.18 | 397 ratings
HUNKY DORY
Bowie, David
4.17 | 436 ratings
RISING
Rainbow
4.12 | 646 ratings
POWERSLAVE
Iron Maiden
4.09 | 655 ratings
SABBATH BLOODY SABBATH
Black Sabbath
4.10 | 615 ratings
MASTER OF PUPPETS
Metallica
4.17 | 259 ratings
SCARY MONSTERS (AND SUPER CREEPS)
Bowie, David
4.05 | 735 ratings
PHYSICAL GRAFFITI
Led Zeppelin
4.07 | 495 ratings
RIDE THE LIGHTNING
Metallica
4.05 | 643 ratings
MASTER OF REALITY
Black Sabbath
4.17 | 212 ratings
SECRET TREATIES
Blue Öyster Cult
4.01 | 799 ratings
LED ZEPPELIN
Led Zeppelin

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Latest Prog Related Music Reviews


 Breath & Burning by PHISH album cover Singles/EPs/Fan Club/Promo, 2016
4.00 | 1 ratings

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Breath & Burning
Phish Prog Related

Review by aglasshouse

— First review of this album —
4 stars 'Breath & Burning' is the first single from Phish's (currently) upcoming album Big Boat, and was released as a promotional single. As most promos go, this single should be, for all intents and purposes, a song that encapsulates the general sound of the album to give you a taste of the upcoming experience.

If this rings true for Breath & Burning, then this is a good sign for what's to come. This song is more in the vein of early 90's Phish (counting Junta), with it's doodling pop rock sensibilities, except incorporating the more clean-cut lyrical and musical quality of the current style of the band. McConnell's soft bluesy keyboards coincide well with the more receded drumming of Fishman, the two band members who I've noticed have changed the most throughout the years. Gordon's thumping bass and Anastasio's acoustic sound very similar as to how they always have, so comforting territory there. As for vocals, Anastasio holds up, however on my wishlist is more acapella from the band- one of their many quirks I've grown fond of over the years.

Well signified by it's artsy cover with clouds and baby blue sky, this track can be described with such emotional adjectives like free and floating. This is definitely more in the territory of innocent, Fuego Phish than of the acid-fueled nonsensical band they were known to be two decades ago. Whether this is good or not completely depends on your feelings of the different eras the band has gone through. If their more recent stuff is to you liking, this definitely will be too.

Breath & Burning is a good sign of what's to come on this new album. I'd say for Phans or just easy listeners, keep your ears up. There might be some good stuff ahead.

 Three Ships by ANDERSON, JON album cover Studio Album, 1985
2.46 | 83 ratings

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Three Ships
Jon Anderson Prog Related

Review by paisanojac

3 stars I love this Three Ships album by Jon Anderson. I still remember when it first came out and I saw it at Tower Records and immediately purchased it. Decades later I still listen to it around Christmas time and still enjoy it. Is this Prog? Not at all, and that's why I am only giving it three stars, but for pure enjoyment I would give it four or five stars. It's a lovely Christmas album, and if that's what you want, then you will enjoy it. It does sound very 80s, which doesn't bother me, as it also brings back memories of the time. There are some naysayers for this album, and I suspect it is either because it is not prog, and/or because they don't like the Christmas message. I do like the Christmas message and enjoy it. To each his own.

One thing I have to warn folks about is the new, updated release. It includes a bunch of stuff that was not originally on the album and since I was so used to the original album version, I was thrown off by the additional material. If you like joyous Christmas music, you should like this album (and perhaps you might like the additional material if it suits your fancy).

 Leave The Light On by BUCKETHEAD album cover Studio Album, 2014
2.05 | 2 ratings

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Leave The Light On
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

2 stars BUCKETHEAD - PIKE 66 - LEAVE THE LIGHT ON 25th album out of 60 in 2014 and 96th overall All sounds brought to you by Buckethead and all instrumental This one has 4 tracks that clock in at 30:44

"Leave The Light On" (13:07) commences with heavy guitar riffage and subordinate higher register guitar licks. The bass and drums are completely subordinate to the guitar. This one really picks up where the last track of the last album left off. It is basically a looped in melodic chord progression that has a guitar lick providing the changing it up around it sometimes erupting into virtuosic soloing and sometimes just being chill. These are my least favorite types of tracks from BH. I find these BBBOOORRR-iiiiiiiiiiiiiiiiiii-NNNGGG!!!! This track is a negative 5 stars and should be enough to cause leprosy in unsuspecting communities far and wide. Maybe an overstatement but i feel the life energy being SUCKED from me when i listen to tracks like this. This track alone is a full warning NOT to buy this freekin' album. Is a dreaded 1 star rating looming? Hmmmm

"Hospitality" (7:15) sorta continues the sound, feel and tones of the alternative metal sounds from the first track. OMG! This is boring. And not the kind of boring that leads to gas extraction. This is fuh-fuh-fuh-king boring SHEE- *IT* that makes me wanna vomit on fly traps and eat edible undies on a sacred holiday. YaAaWwWnNnNnNnnnnnn??..

"The Bellman" (4:59) is a much more energetic type of track that has a more alternative metal approach with a melodic soloing foundation. However it is quite predictable and doesn't amount to much, but does have some cool guitar slides

"This Room Sleeps One And A Half" (5:23) is a totally different beast. It starts off much more energetic in the metal department and then evolves into something more interesting. It has a nice unique mixture of metal, progressive rock bass extenuations and solo guitar. This is immediately the best track of the PIKE in about every way and the sole reason i give this PIKE a 2 star rating instead of 1. The previous three tracks are CRAP! and this is the saving grace making me feel that i didn't waste my life listening and reviewing. This is the reason i sift thru these PIKEs. This track is totally cool with all the BH elements in full regalia. I love this! BH is a genius and tracks like this remind me of the fact. The rest of the album does not

 Hold Me Forever In Memory of My Mom Nancy York Carroll by BUCKETHEAD album cover Studio Album, 2014
3.51 | 7 ratings

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Hold Me Forever In Memory of My Mom Nancy York Carroll
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars BUCKETHEAD - PIKE 65 - HOLD ME FOREVER (IN MEMORY OF MY MOM NANCY YORK CARROLL) 24th album out of 60 in 2014 and 95th overall All sounds brought to you by Buckethead and all instrumental This one has 6 tracks that clock in at 28:37 This is obvious by title that it's a tribute to BUCKETHEAD's mom, Nancy Carroll and while i was expecting a tear jerking parade of instrumental covers of Celine Dion songs, i'm surprised that this is more energetic and upbeat

"N" (3:48) starts out with a sort of chicken clucking rhythm guitar riff with an accompanying bass and drums. This is basically one of those alternative metal type tracks that would be recycled to death on future PIKEs

"Y" (2:36) simply picks up the melody line from "N" and changes things up a bit but adding a stronger drum beat and more mellow break downs. It creates more harmonic counterparts to the melody as well but the basic clucking rhythmic guitar riff is the same

"C" (1:42) is the same track essentially only the tempo is sped up and the guitar begins to shred not only the rhythm part but with a melodic solo as well

"4" (4:49) sorta keeps the same melody going only morphs it a bit. They tempo remains fast but slows down a bit from "C." There is a lot more crunchy thrashy guitar riffage here but still not quite thrash metal. It builds up to a sizzling solo and then backs off into metal riffage with a treble lick enshrouding it. The way things trade off is quite nice

"ev" (2:02) still continues the basic melody and simply changes things up a bit. None of the elements are really that different. Simply slight nuances in timings, rhythmic strutting and dynamics

"er" (13:38) continues the theme and melody with more emphasis on the sizzling virtuosic soloing around the crunchy rhythmic crunchy guitar riffage. The solos get more bluesy and frenetic. This one is also a preview of the many PIKEs that follow as it basically creates an infinity of soloing around a very basic looped melodic process and way before the halfway mark, things get very dull. I think this album is where BUCKETHEAD realized there is a market in music that can be totally cool for background music. Because this is totally cool music if you are focusing on something else. If one listens actively it gets fairly monotonous despite the virtuosic one-dimensional acrobatics at play. If one hears this secondarily it's quite nice. Well, i don't rate music according to if it is a secondary attention factor so i'm quite bored with this one.

Overall not a bad album but the last track which is half the album wears out its welcome pretty fast. I was actually expecting something more dynamic and unique for a tribute to his mother and all. So this was a bit of a surprise that this was sort of a run-of- the-mill type of BH affair. It was pretty cool up until after the first five minutes of the last track though.

3.5 rounded down

 Aquarium by BUCKETHEAD album cover Studio Album, 2014
3.00 | 1 ratings

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Aquarium
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

— First review of this album —
3 stars BUCKETHEAD - PIKE 64 - AQUARIUM 23rd album out of 60 in 2014 and 94th overall All sounds brought to you by Buckethead and all instrumental This one has 5 tracks that clock in at 29:08

"Aquarium" (3:50) starts out as heavy distorted metal guitar riffage. Unlike the last PIKE this one is very accessible with traditional heavy metal and an alternative feel rockin' the house. This is a relentless track with tons of distortion, crunchy riffs, heavy bass and pummeling drums. Nothing too special but heavy. The intro and outro chords sorta remind me of Rage Against The Machine

"Without Form" (4:33) begins a similar track to the first meaning heavy, distorted with unrelenting brutality. The tempo is super fast and the guitar, bass and drums are fully caffeinated with some extra ooompf. Once again this one is firing on full flames but sounds a little too similar to track one and the melody is only OK. It does have a slightly off alternative charm and has a few more ingredients to the mix but i'm still not blown away

"Attention Electric Cyclone" (6:08) is completely different. This reminds me of a glam metal band from the 80s. It has a rather repetitive rhythm section and a lead guitar solo that flitters around the riffs. After that intro it becomes more alternative metal sounding. It jettisons the high register lick and and becomes more bassy. It's actually an interesting sort of evolutionary and historical type of metal development. It becomes faster and heavier, deeper bass and even has some echoes. It stays relentless in its pace and the melodic development is pleasant. My favorite track so far. There is also thrash stop and go chords, Van Halen type riffage and some intense riffing that is beyond belief

"Beyond The Windmill" (7:41) is a ska meets polka remake of a Celine Dion song. Just kidding! It's another heavy distorted metal riff track although this one isn't as relentless. It is slightly slower and has a more alternative metal feel. The song structure is more classic 80s metal at times with a noticeable Eddie Van Halen type of riff thang goin' on. Sheeeet

"Hopper Feeding Mash" (6:56) is another energetic number, however while this one has a highly energetic alternative metal guitar riff, it has one of the cheesiest drum beats EVER. The drum is SOOOO annoying that i feel like this is the soundtrack for a box of macaroni and cheese at the discount store. This one is not only not good but highly annoying. There is always a spectrum of great to awful ways of mixing elements and i have to say that this is AWFUL. It should be unlawful. It sounds as if offal was served on a waffle. I just can't get into it

 Grand Gallery by BUCKETHEAD album cover Studio Album, 2014
3.00 | 2 ratings

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Grand Gallery
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars BUCKETHEAD - PIKE 63 - GRAND GALLERY 22nd album out of 60 in 2014 and 93rd overall All sounds brought to you by Buckethead and all instrumental This one has only 2 tracks that clock in at 29:43

"Omplat" (10:02) begins with deep electrified dungeon synth sounds. Kinda like an electrical current that repeats a note for a while and then bends a bit and percolates in strange rhythms. This one very much is a precursor to the countdown to Halloween series that would follow in 2015. There seems to be a melody struggling to emerge from the abyss but just when it starts to take flight some strange jagged irregular sonic interference clips its wings and weirdness ensues. A weird succession of noises sounds like a couple of electronic keyboards "talking" to each other develops with guitar slides added for freak out's sake. Sometimes it sounds like a cat being stretched in a torture device. For the most part this is totally non-musical. This is about as impressionistic and random as it can get and therefore will please very few listeners with some expectation of anything remotely connected to rock, funk or even what most would deem electronica. This is nothing more than a parade of noises that are quite startling and freaky. Think Coil only in cahoots with Nurse With Wound and you'll be approaching the alienating effect. While i mostly love BH's most experimental works, this one is a hard pill to swallow but amazingly effective for evoking the most surreal and alienating response. I do appreciate that! He's simply done it better especially on the Halloween countdown series that follow

"Monster Zero" (19:40) after the jarring ending of "Omplat" this track begins with smooth and calm notes that sorta slide in and out of key. Then an echoey distorted industrial noise bursts into the scene. A guitar goes through some surreal gymnastics as it slides up and down the scale in unintelligible ways. A cello then takes over as it plucks over silence but then the jarring dissonance of the guitar scale comes back. Wow. This is weird stuff that is something between Karlheinz Stockhausen and Merzbow. This can only be classified as noise. There is no musical structure. Sounds are random and little melodic snippets punctuate the chaos of outer sonic space but it is all extremely Musique concrète. Edgard Varèse, John Cage and even Lou Reed would approve if they were around to give this a listen. There is obviously some kind of hidden structure to this. It's pointillistic as hell. There is most likely some sort of obvious melody that has been totally obfuscated and painted over with a scaffolding of sound in the name of art!

This one has the power to scare of burglars, intruders and terrorists alike. Just put this on and clear any room in less than 30 seconds. I'm sure it would also repel rodents and tenacious insects alike, yet somehow i'm a glutton for punishment and find beauty in this seeming chaos. There's simply something about the flow of it all that i find somewhat attractive. While i'm digging this i'm not loving it as much as some of the other similar albums BH created in 2015. This one is cool in its weirdness and all but isn't as perfected as some of the ones to come. I'm sure very few will dig this. Think of Dedalus' "Materiale Per Tre Esecutori E Nastro Megnetico." If you like that kind of stuff only amped up a few notches in the weirdness department then this one is for you. For everyone else who wants "musical structure" that being recognizable patterns, scales, melodies and the most common things humans associate with music then run to the hills. This one is like a fire breathing dragon discharging pyromancy on your Pink Floyd or Porcupine Tree collection.

 Outlined For Citacis by BUCKETHEAD album cover Studio Album, 2014
3.82 | 3 ratings

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Outlined For Citacis
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars BUCKETHEAD - PIKE 62 - OUTLINED FOR CITACIS 21st album out of 60 in 2014 and 92nd overall All sounds brought to you by Buckethead and all instrumental This one has 9 tracks (if you can call them that) that clock in at 29:56 All tracks are titled "Citacis" just like the previous PIKE except this one ironically is followed by numbers 63 thru 71 The tracks pretty much run into each other to form one long piece of "music"

"Citacis 63" starts things off with thunderous guitar chords, electronic whizzing effects, a funky bass and then some avant-garde soloing techniques. It's a very noisy affair with everything playing a boisterous display of powerful and distorted angular rhythms flopping around like a loose garden hose. After a while it takes a complete 180 and turns into a dark ambient trippiness that would be a great spook soundtrack bringing the Halloween countdown series to mind. This very much in the vein of the previous PIKE only more adventurous as it can drift from funk to ambient to noise in a measure or two

In no time at all you realize that tracks are completely meaningless as is song structure for that matter. The album is simply a parade of style samples some familiar such as funk and metal solos and others just plain bizarre, startling or horrific. There is absolutely no rhyme or reason as to which sound is stitched to what follows. A calm ambient passage can be interrupted by a filthy grungy guitar riff and then break into an electronica dance party only to break into dungeon synth with a playful xylophone sound trying to make a melody but not quite accomplishing it. Then back to thrash metal, then echoey spooky clean guitar with squeaks and then something else completely new.

This is pretty much as extreme, bizarre and experimental as rock can be taken. It's almost like a collage band like Faust meets early Sonic Youth, add early Boredoms, a little Funkadelic, a little Slayer, some Eddie Van Halen with a side order of Throbbing Gristle and then you can only begin to fathom what's going on here. Definitely only designed for the absolutely insanely adventurous music freaks. Yeah, i'm one and i really dig this type of stuff. The utterly unpredictability is what makes this so freakin' amazing. While not the first PIKE to tackle this hodgepodge stylistic approach, OUTLINED FOR CITACIS has its own personality for sure. This is so weird you simply just have to listen to it to comprehend for no words can come close to preparing a listener for the bizarre train wreck they are about to experience.

 The Book of Souls by IRON MAIDEN album cover Studio Album, 2015
3.98 | 170 ratings

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The Book of Souls
Iron Maiden Prog Related

Review by Prog Leviathan
Prog Reviewer

3 stars My favorite metal band is back with their biggest and perhaps most ambitious album yet. Like almost everything the band has produced, it is quite good, and has the band's signature sound is always a treat. That being said, Book of Souls takes some interesting chances here and there, giving it moments to stand out as unique among the band's lengthy discography. As a group that is, let's face it, getting pretty old, I think this is a great choice. They've got nothing to lose, and their recent releases (since Brave New World) have all been great. While Book of Souls is receiving some prog street-cred, my enthusiasm for it is not as strong as previous albums. This time around the band actually starts to show their age, creating songs that miss that spark of energy that makes Maiden music so exciting. For fans of the band, this hardly matters, because even mediocre Maiden (which this is not), is still a blast; however, Book of Souls is definitely not the crown-jewel in the iconic group's regalia of metal masterworks.

First off, this is a two-disc album. High-five. That's awesome, even if just for bragging rights. The songs are dense, highly melodic, and actually pretty varied. There are some down-tempo tracks and moments within extended works that standout as being different than the group's comfort zone. Personally, I think that songs on Final Frontier were more ambitious and effective, but the writing here is, in general quite good. Ironically, it's the band's performance itself that doesn't do it for me. Soloing feels routine, and there are few "wow" moments that grab the attention. Still, the band's rousing melodic moments are thick, heavy, and frequent; they're appealing even if not as electric as I'd hope.

Dickinson especially seems to miss as often as he hits, and it pains me to say it... he's sounding tired. This may have to do with his health issues during the time leading up to this album. Don't take me wrong, he's not bad or enjoyable, but there's a noticeable loss of power during his "fortissimo" moments. This, combined with the unchallenging and forgettable lyrics, is a strike against Book of Souls for me. Where the instrumentalists show restraint and maturity throughout, Bruce just seems to be unable to stop singing at times, going on and on with dense lyrics.

The first disc stands out as a solid collection of songs; they're energetic, exciting, and dramatic. The second disc, including the band's longest song ever, "Empire of the Skies," is much less interesting for me. It's sort of plodding, and lacks the musical ideas to sustain its long running time. Disappointing given the band's streak of success and novelty of the extended release format within their discography.

All in all a worthy release, especially for Maiden fans, though I find myself more excited about their previous 4 albums. Given their age, and musical landscape of the times, it's great to see Iron Maiden still successful and still growing.

Songwriting: 4 - Instrumental Performances: 3 - Lyrics/Vocals: 3 - Style/Emotion/Replay: 3

 Ride The Lightning by METALLICA album cover Studio Album, 1984
4.07 | 494 ratings

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Ride The Lightning
Metallica Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

5 stars Welcome to Thrash-terpiece Theater!

On today's episode, the very first entry in the timeline is the prodigious second offering RIDE THE LIGHTNING by the 1980s thrash- sters of the universe: METALLICA! This album was released all the way back in 1984. George Orwell didn't see this one coming! While the exact beginning of thrash metal has remained elusive with some claiming it appeared as early as 1974 on Queen's "Stone Cold Crazy" with elements appearing in the works of Iron Maiden, Judas Priest and ultimately bands like Venom and Anthrax, it isn't hard to pinpoint just exactly where all those metal attributes that would constitute a new metal subgenre would coalesce into the perfect storm. METALLICA are the winners with their outstanding collection of eight tracks that they blended with a brilliant mix of rapid percussion, shredding crunchy riffs, speed of light tempo, pure metal attitude all topped off with classical music underpinnings to create a melodic distortionfest of epic proportions.

RIDE THE LIGHTNING was only METALLICA's second album but a huge improvement in about every way. While "Kill Em All" certainly mastered the art of thrash riffing, pummeling rhythms and not-a-middle-finger-left-to-give attitude, the album was clearly lacking the melodic nuances that were introduced on this one. RIDE THE LIGHTNING offers up all the thrash deliciousness and aggressive fury but adds a healthy dose of diverse dynamics and a major expansion beyond the one-dimensional approach of the debut. Not only are there classical guitar arpeggiated chords that serve as intros and more progressive songwriting techniques but there was also a major leap in the philosophical lyrical content with more thoughtful subject matter as heard on the classic "For Whom The Bell Tolls" which was entirely inspired by the Ernest Hemingway novel about the horrors of the Spanish Civil War," which brilliantly begins with the tintinnabulation of bells as the guitar riffs slowly build up in intensity until it becomes a fully formed thrash behemoth.

"Fight Fire With Fire" begins the album's magic with a classical clean guitar arpeggio that must have thrown fans of the first album for a loop and then ruthlessly and suddenly bursts into full thrash fury that sets the pace for the entire run of the album and a testament to the more mature songwriting on track one only continues through the eight outstanding tracks that make up this musical chef-d'oeuvre. "Fade To Black" debuted the softer side of METALLICA where they created perhaps one of the very first thrash ballads that begins with an acoustic guitar intro that would become a distinct METALLICA staple that would decorate future releases (such as "Welcome Home" or "One".) The technique of a softer intro followed by a harder edged sound was nothing new in the greater world of rock and metal, but METALLICA successfully tackled the dilemma of how to make it happen in the burgeoning world of extreme metal.

As the album churns on delivering one catchy melodic tour de force after another with such thrash classics as "Trapped Under Ice" and "Escape," the true cream of the crop actually comes towards the end with the combo effect of the Biblical inspired "Creeping Death" which lambastes the listener with tales of Egyptian plagues in cahoots with the ultimate instrumental closer in the form of "The Call Of Ktulu." This final juggernaut is really the display of musical brilliance in action and a perfect display of sound dynamics, tempos, time signature changes and the fusion approach of both classical music with hardcore heavy metal. The many moods that are contained in the nearly nine minute run also display the progressive rock influences that would continue to develop into ever more complex tracks on future albums.

James Hetfield, Kirk Hammett, Cliff Burton and Lars Ulrich didn't only create the world's first bona fide thrashterpiece, they also hurled the entire extreme metal world into a much larger audience that allowed the genre to grow exponentially until METALLICA themselves would burst onto the world's stage as one of the biggest metal bands in history. RIDE THE LIGHTNING isn't only important from a historical standpoint. I can respect an album's influence and still not find it a terribly interesting listen. On this album all of the ingredients on board are perfectly blended together with stellar songwriting, flawless performances and exemplary examples of how to blend disparate musical genres into a seamless whole. METALLICA took the extreme metal world by storm with this one and single handedly opened the doors to the endless stream of bands to follow. While i do prefer "Master Of Puppets" and "And Justice For All" for their increased progressive complexities, RIDE THE LIGHTNING has the perfect raw metal energy from the debut mixed with just enough of the new ideas to put this in its own little transitional state of perfection.

This concludes today's episode of Thrash-terpiece Theatre. Please tune in again.

 The Original Soundtrack by 10CC album cover Studio Album, 1975
3.74 | 107 ratings

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The Original Soundtrack
10cc Prog Related

Review by Warthur
Prog Reviewer

4 stars 10cc's style of progressive pop with cheekily comedic touches is, over the course of their career, a rather hit and miss affair. Like much other comedy, when the jokes work, it's great, but when they fall flat it's all rather embarrassing.

On The Original Soundtrack, however, the band are on magnificent form, with even the rather cheesy Life Is a Ministrone being more endearing than annoying. On top of that, they are a little more adventurous here than they would be for much of their later career, opening the album with the theatrical Une Nuit a Paris (parodying multi-part prog epics by spuriously suggesting that the song is split into several parts, "One Night In Paris", "The Same Night In Paris" and "Later the Same Night In Paris"), and then having it segue into the shimmeringly beautiful and uncharacteristically sincere I'm Not In Love. Perhaps their finest hour.

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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
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