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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 | 948 ratings
LED ZEPPELIN IV
Led Zeppelin
4.37 | 672 ratings
QUEEN II
Queen
4.28 | 801 ratings
PARANOID
Black Sabbath
4.51 | 174 ratings
BLACKSTAR
Bowie, David
4.27 | 777 ratings
A NIGHT AT THE OPERA
Queen
4.23 | 725 ratings
BLACK SABBATH
Black Sabbath
4.21 | 667 ratings
SEVENTH SON OF A SEVENTH SON
Iron Maiden
4.21 | 561 ratings
ARGUS
Wishbone Ash
4.20 | 512 ratings
THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS
Bowie, David
4.19 | 373 ratings
HUNKY DORY
Bowie, David
4.17 | 422 ratings
RISING
Rainbow
4.12 | 625 ratings
POWERSLAVE
Iron Maiden
4.09 | 637 ratings
SABBATH BLOODY SABBATH
Black Sabbath
4.19 | 248 ratings
SCARY MONSTERS (AND SUPER CREEPS)
Bowie, David
4.09 | 595 ratings
MASTER OF PUPPETS
Metallica
4.05 | 711 ratings
PHYSICAL GRAFFITI
Led Zeppelin
4.04 | 623 ratings
MASTER OF REALITY
Black Sabbath
4.17 | 201 ratings
SECRET TREATIES
Blue Öyster Cult
4.06 | 478 ratings
RIDE THE LIGHTNING
Metallica
4.01 | 774 ratings
LED ZEPPELIN
Led Zeppelin

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Latest Prog Related Music Reviews


 Stream by SINCLAIR, DAVE album cover Studio Album, 2011
3.00 | 1 ratings

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Stream
Dave Sinclair Prog Related

Review by Tarcisio Moura
Prog Reviewer

— First review of this album —
3 stars I stumble upon this album by pure chance. But I had liked the song Sad Eyes when a friend post it for me on my Facebook page, so I was curious about Dave Sinclair´s solo album. I´m not very big fan of the so called "Canterbury Sound" and I´m no expert on this kind of music. All I knew is that Sinclair was the keyboards player of the classic line up of Caravan. And I was stunned by the big list of major players and singers that give a hand on this CD: Robert Wyatt (vocals & cornet, ex Soft Machine and Matching Mole), Jimmy Hastings (flute, clarinet and sax, from Caravan), Andy Latimer (Camel), Annie Haslam (Renaissance), Barbara Gaskin and Dave Stewart (Stewart & Gaskin) and so on, even Morgan Fisher from Mott The Hoople is credit here. So I guess I was expecting a very strong prog album.

But really what you get is a very laid back, soft sound with pop and celtic overtones. All songs are very short (only Between Us breaks the 3 minute mark) and there are very few solos. Needless to say, everything is very well done and produced, but I guess some people will not like the lack of bolder. jazzier and longer instrumental parts. Of my part I liked Stream very much: it is a peaceful and pleasant sounding piece of music, if not too original. The choice of singers was a fine move, as the performances are also spotless.

Rating: 3.5 stars. Not really essential, but a fine record anyway. For the ones like me, who can appreciate subtle and very melodic music.

 Oxygene 7-13 by JARRE, JEAN-MICHEL album cover Studio Album, 1997
3.58 | 67 ratings

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Oxygene 7-13
Jean-Michel Jarre Prog Related

Review by Warthur
Prog Reviewer

4 stars It was probably inevitable that sooner or later Jean Michel Jarre would be prompted to revisit his breakthrough album Oxygene - particularly in the wake of Mike Oldfield's successful revisiting of Tubular Bells demonstrated that there was an appetite in the "New Age" market for updated revisitations of old themes.

As the title implies, the music here is presented as an organic continuation of the original album, and Jarre manages to skilfully revisit the old stomping ground with instrumentation that doesn't sound too out of place (perhaps a happy side-effect of the original Oxygene sounding so far ahead of its time) and sprinkles on a few more modern electronic influences (including a bit of trance here and there) which refresh the sound of the album whilst keeping its character recognisable. Motifs from the original album come back to play here and there, but there's enough new material to make the album more than a mere exercise in nostalgia.

 The Book of Souls by IRON MAIDEN album cover Studio Album, 2015
4.03 | 147 ratings

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The Book of Souls
Iron Maiden Prog Related

Review by Warthur
Prog Reviewer

5 stars Whilst Iron Maiden have never gone full prog metal, they've included progressive elements in their songwriting throughout their career to varying degrees with Seventh Son of a Seventh Son the high water mark of this tendency... until now. A sprawling double album replete with epic tracks, including the soaring 18-minute closer Empire of the Clouds, the Book of Souls finds Maiden taking their post-Brave New World purple period to new heights.

Inspired by Bruce Dickinson's love of aviation and completed despite the terrifying health scare he underwent during the process of preparing the album, it's another classic work in the band's discography which should silence any suggestion that they've been simply repeating themselves of late.

 The Siket Disc by PHISH album cover Studio Album, 2000
3.45 | 13 ratings

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The Siket Disc
Phish Prog Related

Review by aglasshouse

4 stars The Siket Disc is the one and only instrumental album recorded by the American band Phish. It was released via mail order to Phish fans in 1999, but didn't hit stores until 2000. It is a very quaint little collection of rather obscure music recorded during Phish's Story of the Ghost sessions in 1998. It is a very underrated work that features some pretty good material.

As aforementioned, the album consists of only instrumentals, so Anastasio's vocals are not involved in any way. However, this does lend a pro to the album where it allows him to show off his guitar skills with more prowess. The styles of the tracks revolve mostly around lounge music, with some hints of progressive rock; the entire album is extremely laid-back, and does not over-exert itself to a great extent. The album opens up with 'My Left Toe', which recycles a continuous two notes which makes for a very irritating melody and an unpleasant experience for me. However, it does lead into possibly my favorite track on the album, 'My Name is Slick'. This song subtly combines funk and lounge-jazz which makes it very fun to come back to when you're working or just want to relax. The first side ends with 'What's The Use', a Floydian-inspired epic which use blunt, 60's psychedelic humdrum with deep and echoing guitar chords to make for an interesting space rock jam (this track is probably the most appealing to prog fans who generally enjoy long tunes). 'Quadrophonic Toppling' and 'Albert' are both short but sweet guitar/bass led songs. The former features a very hypnotic bass line by Mike Gordon, even with it featuring only a few different notes. 'The Happy Whip and Dung Song' is perhaps the most vibrant the album gets, featuring the slow muddle seen on 'What's the Use' but more chaotic guitar playing.

This album was slightly hard to critique, due to it being so minimalist in nature. A factor that has made it not too popular, but in my opinion adds very well to a certain aesthetic that it gives off. It is indeed very different from other Phish albums, but for a hard to explain reason it is one of my favorites. Mostly I believe it is from the slow and very simple style that has the instruments being lightly played instead of extremely intricately, and still being able to be fun and enthralling. I would highly suggest however that you listen to it before you obtain it, because it is really a "different-cup-of- tea" kind of experience.

 A Real Diamond in the Rough by BUCKETHEAD album cover Studio Album, 2009
4.29 | 10 ratings

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A Real Diamond in the Rough
Buckethead Prog Related

Review by admireArt
Collaborator PSIKE Team

4 stars A Real Diamond in the Rough!

After reading a super cool review in these pages about this 2009 "A Real Diamond in the Rough" one of the zillion releases in BUCKETHEAD's discography and my early acquaintance with lots of his works and the luck of owning a couple of my personal favorites (which I have reviewed also in these pages), well, I got caught.

A true to life stardom surrounds this anti-stardom composer/performer. As if to ellaborate on this maybe his virtuous skills, the same his detachment, his heartfelt and intelligent compositions the sum of all parts and yet something intangible is present as in his best releases.

Non-stop creativity guided by a totally inspired composer/guitarist aided by Dan Monti on drum programming and bass and Bryan "Brain" Mantia on drums also and 13 tracks to prove it, which adds up to BUCKETHEAD's genius like albums.

The routes traveled are diverse, all BUCKETHEAD imprinted as expected. From classical Rock to proto/prog moods to classic like progressions to blues rooted sections to latin based rhythms to magnificent acoustic guitar only structures to clean cut Jazz swings to the experimental borders of sound engineering and to wherever the roads may lead.

The obssesive attention to detail throughout the whole album is simply remarkable.

****4 PA stars.

 Olias of Sunhillow by ANDERSON, JON album cover Studio Album, 1976
3.94 | 328 ratings

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Olias of Sunhillow
Jon Anderson Prog Related

Review by Magnum Vaeltaja

3 stars The first solo album by Jon Anderson, "Olias of Sunhillow" very faithfully carries on the Yes tradition, even without the help of any of his band mates.

Written, performed and recorded entirely by Mr. Anderson, "Olias of Sunhillow" takes on a far more subdued approach to the Yes experience but it is still a great foray into Jon Anderson's fantasy world building. After all, Anderson was the world builder with Yes, often being the philosophical brainchild of the group's output. A concept album, I'm sure that you can read the synopsis in a number of other reviews. I will note that the album's story line is derived from a series of Roger Dean (who did not do the cover for "Olias", interestingly enough) paintings. Beginning with the back cover of "Fragile" and following through the stages of the four "Yessongs" paintings, "Olias" is a story of exodus, rebirth and forging new beginnings, and can make for a powerful spiritual experience to listen to.

As far as the music, it gives very "new age" vibes, with soft, lush synthesizers, plenty of acoustic guitar, and great falsetto vocal lines. It doesn't quite give the same drive or punch as Yes, but it has the same soul. In all, this is a good but non-essential album, warranting a 3 star rating. If you can find a vinyl copy, however, I'd bump the rating up to 4 stars, as it contains an incredible storybook-style multi-sided gatefold with beautiful illustrations and poetry describing the narrative. 3 stars overall.

 Coupon by BUCKETHEAD album cover Studio Album, 2016
3.00 | 1 ratings

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Coupon
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

— First review of this album —
3 stars B U C K E T H E A D PIKE 234 - COUPON 15th album by BUCKETHEAD in 2016 (released on March 31) Clocks in at 29:47 ALL instrumental EVERYTHING performed for you by Buck-buck-buck-buckethead This one has only two long tracks

"Nail In The Clock" (13:50) starts out with distorted oddly timed guitar chords and then creates a rather theme song type of riff that falls in and out of melody while the tone changes from distorted to wah-wah-ish. It then goes on for a while alternating thrashy riffs with the post-metal type meanderings and then brings in the theme song type riff once in a while with accompanying lead guitar around it. This one is very progressive and experimental and the most interesting track i've heard from BUCKIE all year. This one is actually keeping me very interested as it changes up everything a lot but yet has similar variations on themes. Like nice guitar note bends, beefy bass lines and drums that follow the strange time sigs like a flock of birds in unison. The track evolves nicely into an appropriate shredding solo. Wow. This one has it all. It has atmosphere, technique and the element of surprise unlike way too many of these PIKEs lately. I'm utterly thrilled to hear something that does it for me!!!

"Coupon" (15:57) starts out slow with atmospheric ambient synth sounds and a slow guitar jangle. After a proper build up it bursts into a nice mid tempo guitar riff. The treble range is pure space rock and although a little Pink Floydish in tempo and style, sounds very different. Maybe more like a Steven Wilson solo only a little scarier with some haunting bends in tandem with a grungy bass line and nice ambient atmosphere. This one is highly melodic and the tones and effects of the instruments are quite pleasing. I'm liking this one a lot as well but it's not nearly as wild and progressive as "Nail In The Clock." This one is more predictable as it is a recurring melodic line over the bass and drums. Despite it being pleasing, it doesn't change things up enough to warrant its time length. An ok but not outstanding track.

LOVE track 1 which is worth the price of admission LIKE track 2 which is nice background music but nothing out of this world

 St. Anger by METALLICA album cover Studio Album, 2003
1.63 | 321 ratings

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St. Anger
Metallica Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

2 stars Wow. This album is REALLY hated. I have to admit that i pretty much gave up on METALLICA after the 'Load' album. Between the wannabe Jane's Addiction image and the pop punk songs that showed yet another 80s pioneering band stray into unfit territory, i just decided that METALLICA was just another 80s band that wanted to be something they were not so i never gave albums like ST ANGER the time of day, ESPECIALLY reading the vituperrious reviews. Well, at long last i have exposed myself (not in public!) to this most-hated edition of one of metal's most revered bands and i have to say that'.. it's not as bad as i expected.

No, it's not a return to form. It's hardly in the same league as anything from the debut even to the self-titled black album BUT'.. it beats the crap out of 'Load,' 'Reload' and the weak nonsense that followed. So what happened to this once great band? Only speculation, of course, but perhaps a band that enjoyed too much success and garners one of the highest royalty payouts of all metal history just got too fat and cozy and out of touch with the R-E-A-L world? Hmmm. Just a theory as farfetched as it may sound.

OK. I'll keep this short. This album doesn't deserve much praise or criticism. It's been uttered many times before. I actually like this album's tenacity and experimental prowess BUT'. is this really METALLICA? Well, yes. James Hetfield makes that perfectly clear. Everything except the vocals indicates this is a new 90s alternative band that has come of age and ready and willing to make a stab at the big time. WTF? OK. I almost buy the whole shtick. I can understand the willingness of a band to experiment and try to play the new game and yadda yadda yadda but for bleep's sake TAKE IT ALL THE WAY!!!!

In a nutshell, i really love the grungy deep bass laden production that Bob Rock (also bassist) contributes on this album. The problem i have is manyfold but the main beef being that this isn't innovative in any way. METALLICA were clearly scanning the alternative metal soundscape of the 90s and incorporating anything far and wide into their sound that they could grasp onto. I still to this day do not understand the psychology of WHY a band that was so innovative in the metal world wanting to tackle every possible nuance of metal and claim it as their own. Some say Lars the ego driven maniac had his lead in this but really who knows.

The album comes across as a wannabe alternative compilation of the 90s. The main influences i detect are a Ministry industrial metal approach in riffage with Alice In Chains type grunge and vocal approaches with sparsely dispersed Pantera groove metal influences. However the most distinct ripoff of all comes from the incessant use of White Zombie type riffs that resonate low in the decibel range and have riffs that resonate as if they were of the 'La Sexorcisto: Devil Music Vol 1' album.

While i really like the production and sound and much loathed snare drum idiosyncrasies of this album unlike many others, what really turns me off about this album is the horrific vocals of James Hetfiels and the equally abysmal lyrics which are just bleepin' nonsensical (OMG like the goddam 'Tick Tick Tick from the first track or the other suckmefests like 'Shoot Me Again.' As the 90s unfolded new possibilities in the metal genre, METALLICA was trying (but obviously not succeeding) in ripping off the up and coming newbies. There is imagery in the liner notes ripping off My Dying Bride to the riffage on 'My World' that rips off their own 'Master Of Puppets.'

Overall i don't hate this album as much as others in the pure listening category although i get it totally in the intellectual department why this sucks donkey wankers. I actually enjoy the sound, the production and the instruments on board. What REALLY rankles my doggie reality is James Hetfield's vocals. This dude has clearly lost his luster. He has never been the cream of crop in the vocal department but has delivered stellar songwriting contributions to the metal universe. On this release he seems totally out of place and i truly feel this could have been a better album if Rob Zombie was on board as vocalist. I mean really! IF YOU'RE GONNA REINVENT YOUR SOUND'. then why not just go all the way and add a new vocalist. There are many brilliant moments here if this WERE a different band but because James Hetfield's limited diminishing abilities only SCEAM a declining band here in full deciblage i just can't embrace this album even though the aggressive instrumental portions are quite satisfying. Bob Rock's production is quite satisfying for me on this one. 2.5 rounde doooooooowwwwwwwwwwwwn

 Low by BOWIE, DAVID album cover Studio Album, 1977
4.06 | 305 ratings

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Low
David Bowie Prog Related

Review by Lewian

2 stars There is no doubt that Low is a very original and special album. Many things on Low are done in a very unique way, or for the first time. It seems this album has influenced a lot of people, particularly in New Wave and Post Punk, and it has impressed even more; Pitchfork rated this as the best album of the seventies. Certainly Mr Bowie got the timing right for this!

I have made numerous attempts to get into Low and one time after another I failed. The rock oriented first side sounds thin to me, the special sounds and the mix are unorthodox and original but rather annoy than please me. The songs don't have a lot of appeal and are faded out all to quickly and impatiently.The mood is neither heavy nor romantic nor angry, rather emotionally understated and distant, and this doesn't attract me. Bowie was not in his best shape when he did this and one can hear this. It sounds like his attention span was rather short and this is expected of the listener, too, at least on side one.

I like the electronically dominated second side more, some sounds are beautiful and Warszawa is pretty impressive in its atmosphere, although none of these has much compositional substance, it's all about trying out and showcasing this exciting new style. Allusions to electronic Kraut artists are tastefully woven in; Weeping Wall sounds a bit like some of Irmin Schmidt's Soundtracks (most of which came later to be fair) and is rather interesting. Art Decade comes from a similar angle as Warszawa and works fairly well but doesn't have the haunting vocals that Warszawa and Subterraneans offer; the latter would be rather directionless though without the pretty short vocal part. This kind of stuff has been done much better by the proper electronic musicians, except, OK, they don't have Bowie's voice.

All in all side one and side two don't really fit very well together (it seems that nobody denies this but some seem to find this very cool); I can't get much out of side one and side two has its moments but isn't really consistent and mature (Mr Bowie's gotta be innovative for innovation's sake, and leave the place again all too soon).

Side one is a weak 2* and side two a good 3* and because they're not the best match and nobody has rated this low (!) up to now I round it down. Yeah, I see why it's special but still. Essential but not good.

 It's Alive by BUCKETHEAD album cover Studio Album, 2011
3.58 | 5 ratings

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It's Alive
Buckethead Prog Related

Review by stainedclass2112

3 stars Jeez, I remember when this came out. I remember buying one of the songs from it and it being my favorite Buckethead song for a while. That song was "Crack the Sky", one of Buckethead's coolest tracks. I had only been a Buckethead fan for around a couple years at the time of this album's release, and I had zero idea he would keep the Pikes series going along for so long. There have been 230 more Pikes released since the release of this one at the time of me writing this. That's a lot. Most of them have been of high quality too, but this one is actually not one of the best. It's good, very unique sometimes, but it's overall an enjoyable experience that I get a kick out of.

This album is kind of a jack-of-all-trades Buckethead album. He hadn't really gone full swing Pike-mode yet, so he was still in the mood for heavy metal with funk, electronic, and experimental influences. This album has lots of brilliant soloing and riffing and crazy funky bass playing. It also has a heaping helping of experimental craziness. Basically you can narrow this album down to two sections: the serious sections, and the experimental sections.

For the serious sections of the album, we've got three killer tracks, "Lebrontron", "Crack the Sky", and "Brooding Peeps". All of these are magnificent. They are all basic metal songs played in the classic Buckethead fashion, which means lots of interesting licks, brilliant soloing, and great riffs. "Crack the Sky" is absolutely freaking stellar. This song was one of my very favorites as a child, and it hits me hard with nostalgia. I remember jamming to this song on my way to school each morning. The riffing in this one is fantastic, and this was one of the songs that made me a heavy metal fan. The other two similar tracks are great too. "Lebrontron" is a great start to the album, with simple, warm solos and upbeat riffing that makes for an overall great track. "Brooding Peeps" is in the same vein, with some wonderful soloing and wicked riffing at the end that break this track into the top 3 on the album. The lead melodies on these songs, especially "Brooding Peeps", earn big points for me, he tempers the solos with some rather beautiful lead sections that add lots of dimension to some already great songs. These three are the crown jewels of this interesting crown, and are all worth listening to.

The rest of the album is all experimental and crazy. Expect odd note patterns, weird sound effects all over the place, and some deliciously funky bass playing. A lot of people forget to mention this, but Big B can absolutely molest your eardrums with his funky bass playing. Maybe that was a weird way of putting it, but yeah, he plays some great funk bass lines here. There are also lots of weird electronic drum beats that wouldn't be out of place in maybe a techno song. While some of Buckethead's experimental work can be brilliant, some of the songs here are examples of it being out of place. The best of the experimental songs on the album is definitely "Picking the Feathers", which is full of odd rhythms and some great (but weird) riffs. I also really enjoy "Tonka", with it's unique riff patterns and some pretty cool experimental sections. "Barnyard Banties" also has some wicked bass playing; slap-style goodness with lots of filter effects layered on. If you enjoy experimental rock or metal, you will love these tracks and I do recommend them.

Overall, this isn't bad at all, just a bit awkward at times. The Pike experience is a very long journey, and this might be a turn off for non- fans. It's not one of his best works at all, in fact, this one is probably a little below average for most of the Pike material. Not crazy enough to earn big points for me, but not straightforward enough to win big points in that respect either. This album isn't bad at all, it's a rather fun listening experience, and as a whole, I do really enjoy this album, especially "Brooding Peeps" and "Crack the Sky", both of which are really nostalgic with me. In the end, this is another quality Buckethead release, but definitely not one of the better Pikes.

Originally written for The Metal Archives

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Prog Related bands/artists list

Bands/Artists Country
10CC United Kingdom
14 BIS Brazil
801 United Kingdom
ABEDUL Spain
ABSOLUUTTINEN NOLLAPISTE Finland
ACIDENTE Brazil
AERODROM Yugoslavia
AGNUS DEI Austria
DON AIREY United Kingdom
ALBERO MOTORE Italy
ALWAYS ALMOST United States
THE AMBER LIGHT Germany
AMBROSIA United States
JON ANDERSON United Kingdom
ANNEKE VAN GIERSBERGEN (AGUA DE ANNIQUE) Netherlands
ARIEL Australia
ASIA United Kingdom
ATLANTIS United States
PETER BARDENS United Kingdom
SYD BARRETT United Kingdom
LUCIO BATTISTI Italy
BEAU DOMMAGE Canada
BIJELO DUGME Yugoslavia
BLACK SABBATH United Kingdom
BLACKFIELD Multi-National
BLODWYN PIG United Kingdom
BLUE ÖYSTER CULT United States
JEAN-PASCAL BOFFO France
THE BOLLENBERG EXPERIENCE Belgium
DAVID BOWIE United Kingdom
BRAM STOKER United Kingdom
BUCKETHEAD United States
BUDGIE United Kingdom
BYZANTIUM United Kingdom
JOHN CALE United Kingdom
CARNEGIE United States
CASA DAS MÁQUINAS Brazil
THE CHURCH Australia
CITY Germany
CITY BOY United Kingdom
CLOUDS United Kingdom
STEWART COPELAND United States
CRUACHAN Ireland
MARTIN DARVILL & FRIENDS United Kingdom
BRIAN DAVISON'S EVERY WHICH WAY United Kingdom
FABRIZIO DE ANDRÉ Italy
CHRISTIAN DÉCAMPS France
DEUS Belgium
DIABOLUS United Kingdom
DIR EN GREY Japan
DRAGON New Zealand
DREAMLAND United States
ER. J. ORCHESTRA Ukraine
ESQUIRE United Kingdom
EVOLVE IV United States
EX CATHEDRA United States
FAIRPORT CONVENTION United Kingdom
THE FIRE THEFT United States
FLIED EGG / STRAWBERRY PATH Japan
FLIGHT 09 Uzbekistan
FLYING COLORS United States
FM Canada
FOTHERINGAY United Kingdom
ELOY FRITSCH Brazil
FUGATO ORCHESTRA Hungary
AVIV GEFFEN Israel
DAVID GILMOUR United Kingdom
GORDON GILTRAP United Kingdom
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
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