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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 | 1025 ratings
LED ZEPPELIN IV
Led Zeppelin
4.52 | 264 ratings
BLACKSTAR
Bowie, David
4.36 | 727 ratings
QUEEN II
Queen
4.29 | 862 ratings
PARANOID
Black Sabbath
4.28 | 849 ratings
A NIGHT AT THE OPERA
Queen
4.23 | 780 ratings
BLACK SABBATH
Black Sabbath
4.21 | 714 ratings
SEVENTH SON OF A SEVENTH SON
Iron Maiden
4.22 | 601 ratings
ARGUS
Wishbone Ash
4.21 | 580 ratings
THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS
Bowie, David
4.18 | 452 ratings
RISING
Rainbow
4.13 | 670 ratings
POWERSLAVE
Iron Maiden
4.16 | 431 ratings
HUNKY DORY
Bowie, David
4.11 | 659 ratings
MASTER OF PUPPETS
Metallica
4.10 | 677 ratings
SABBATH BLOODY SABBATH
Black Sabbath
4.09 | 537 ratings
RIDE THE LIGHTNING
Metallica
4.07 | 669 ratings
MASTER OF REALITY
Black Sabbath
4.15 | 290 ratings
SCARY MONSTERS (AND SUPER CREEPS)
Bowie, David
4.06 | 775 ratings
PHYSICAL GRAFFITI
Led Zeppelin
4.17 | 219 ratings
SECRET TREATIES
Blue Öyster Cult
4.03 | 842 ratings
LED ZEPPELIN
Led Zeppelin

Latest Prog Related Music Reviews


 Rendez-Vous by JARRE, JEAN-MICHEL album cover Studio Album, 1986
3.45 | 97 ratings

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Rendez-Vous
Jean-Michel Jarre Prog Related

Review by Warthur
Prog Reviewer

4 stars Originally composed as a tie-in with the Challenger shuttle mission before, Jean-Michel Jarre's Rendez-vous is a piece whose backstory ends up with a little extra poignancy due to the disaster which claimed the lives of the astronauts. Overall it's a long piece reminiscent of Jarre's breakthroughs like Oxygene and Equinoxe, the vocal experiments of Zoolook having been set aside. Aside from the last piece being subtitled "Ron's Piece", in light of the fact that astronaut Ron McNair was supposed to play the sax part of it from orbit as part of the mission, the mood of the whole seems rather untroubled by the tragedy it was associated with, and if I had any major criticism it would be the apparent lack of strong emotion altogether.
 Pepper's Ghost by BUCKETHEAD album cover Studio Album, 2007
3.12 | 7 ratings

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Pepper's Ghost
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

3 stars After a few heavy albums dipping into the avant-garde world with progressive leanings and a few collaborative efforts that led BUCKETHEAD into calmer musical arenas, he shifted gears a little bit and created a more digestible "easy listening" for BUCKETHEAD anyway, type of album. No, it's not like one of the many lullaby albums that haunt the Pike output but it is more of a riff oriented album that sticks to a rather heavy blues rock style but keeps the tracks interesting by alternating the timbres, tones and dynamics. This was the chicken lover's 19th solo album and focused on more structured compositions. Along with the avant-garde one is Dan Monti who plays bass as well as handling the production and programming.

PEPPER'S GHOST is a fairly easy album to get into as it's riff-oriented tracks are quite easy to wrap one's head around as there are no shockingly disturbing time signature freak outs and jittery caffeinated whirlwind of ideas outpacing a tornado. On the contrary, this is basically a heavy rock that speeds up into full metal territory type of album that utilizes slower passages that offer clean guitar segments with cool echo effects and arpeggios. The tracks are all on the short side with the longest only hitting the five minute mark. While having been accused of producing a commercial album, PEPPER'S GHOST is anything but with its incessant shifts of styles and dynamics albeit adhering to a pre-set melodic development which makes it easier to follow.

Ultimately PEPPER'S GHOST seems a little restrained and held back for my tastes when it comes to BUCKETHEAD's adventurous output. This seems more like a demo album for possible band guitarist slots where he can prove his ability to tamp down his wild side and create a more commercial sound such as he did with Guns N Roses. In some ways it is interesting to hear BH do a more "normal" album that sticks to 4/4 timings and traditional guitar solos that don't blend too many elements simultaneously but at the same time i keep wanting him to push the envelope even further but rather he retreats into safer territory instead of kicking it all into higher gear which any hardcore fan knows quite well that he is capable of doing.

All in all PEPPER'S GHOST is a decent album and not a bad place for someone to begin their BH journey before delving into the esoteric and complex of his canon. While it certainly is more entertaining than the insipid ballad cheese that he also has a propensity for, it doesn't exactly take my heavy metal fantasies to the starts either. Add to the fact that BH doesn't really engage in any new ideas as pretty much everything has been done before and better whether it be those echoey guitar licks or the Van Halen inspired guitar riffs and a few interesting guitar runs that do briefly bask in the avant-garde off kilterness. Having said that, all of the tracks are catchy and well executed and could easily be spiced up with little effort. Perhaps not my most treasured of BH listening experiences but also at the same time not one that i will run to the hills to avoid experiencing again. In the end it's a nice mix of the mellow tinged with echoed psychedelia and the heavy crunch of metal riffs. The sole exception to this fairly "normal" sounding BH album is the finale "Emblaming Plaza" which is a percussionless ambient electronic track and a sneak preview to the Countdown To Halloween Pikes.

3.5 rounded down

 Master Of Reality by BLACK SABBATH album cover Studio Album, 1971
4.07 | 669 ratings

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Master Of Reality
Black Sabbath Prog Related

Review by The Crow
Prog Reviewer

5 stars In my opinion Master of Reality is Black Sabbath's true masterpiece!

A (almost) flawless album with thunderous bass, incredible guitar riffs, an Ozzy in his best moment and great drumming too. The bass in the mixing of the album is almost too loud, but I love bass oriented bass so I just love the Geezer playing in this one.

The style of Master of Reality is more coherent and cohesive than the two previous efforts, achieving a very solid collection of songs with no real letdowns. They wanted to make a groovy yet heavy album, and they made a real milestone for stoner and heavy metal. Even more than Black Sabbath and Paranoid.

Sweet Leaf has a catchy, very groovy riff that together with its lyrics talking about smoking drugs defined the terms of stoner rock and stoner metal. The final part is great and the bass playing is really strong. A real classic!

After Forever starts in an ominous way, introducing a dynamic melody which ends in another anthological riff. The bass sounds even stronger than guitars! And I just love it. Just like a love Embryo, a little yet terrifying instrumental which leads to Children of the Grave, where Heavy Metal was really born in my opinion (together with Speed King and Bloodsucker from Deep Purple's In rock) It's incredible to hear a song which generated so much amount of influence through the years. A big part of the 80's heavy metal was already in this 1971 track!

Orchid is another good instrumental song, obviously very influential for bands like Opeth (the first album of the Swedish band was named just like this track and the acoustic sections sound similar) and Lord of this World introduces another great riff. The whole discography of bands like Sleeps come from this song! It's really difficult to measure this album's influence through the following decades, and Lord of this World is another good example.

Solitude is similar to Planet Caravan from Paranoid, but very much better in my opinion. An intimate and sad song with beautiful vocals from Geezer. And then comes Into the Void! Another incredible song which starts with a very groovy and funny guitar melody which soon derivate in a brutal riff, which also give way to another heavier and faster riff. And after the solo comes another different but also splendid guitar riff! The songwriting is really good, and so much improved since Paranoid... Just the best moment of this musician's career.

Conclusion: if songs like Black Sabbath supposed the birth of doom metal and other songs like Paranoid gave way to heavy metal, it's adequate to say that Master of Reality is the true birth of stoner metal. A bit of psychedelia, great and variated riffs and songs that talk about drugs and other obscure themes. And with such a great quality! Maybe Master of Reality lacks hits like Paranoid or Iron Man, but as a whole is the better album of the band. Just eight very influential songs which aged very well and a true pleasure for the ears.

Best Tracks: all of them (Ok, maybe Embryo and Orchid are not top notch, but also very good)

My rating: ****1/2, rounded up to five stars and masterpiece status.

 Paranoid by BLACK SABBATH album cover Studio Album, 1970
4.29 | 862 ratings

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Paranoid
Black Sabbath Prog Related

Review by Luqueasaur

5 stars The Band Who Progressed Beyond Prog Rock: 9/10

Following BLACK SABBATH's unexpectedly revolutionary debut (but harshly criticized by contemporaneous critics), the band crew wanted to continue exploiting their mojo releasing yet another state-of-art unpredictably heavy album only a few months later, PARANOID. Consequentially to Paranoid released as a single, it became a monstrous hit, cementing decisively the directions of the newly founded heavy metal genre. Of course, they weren't the only ones to bring up bone-crushing riffs and occultist lyricism ' LUCIFER'S FRIEND proves my point ' but their success made them the most influential act and consequentially the forerunners of the genre.

Worthy of note among all musicians is the guitarist Tony Iommi. He will not go down in history as a virtuoso player or amazing soloist; instead, his merit lies on his riff craftsmanship, manufacturing simple but outstanding licks that would remain in popular culture for years to come. To quote Ozzy Osbourne, '...Tony Iommi turned out to be one of the greatest heavy rock riff-makers of all time. Whenever we went into the studio we'd challenge him to beat his last riff ' and he'd come up with something like 'Iron Man' and blow everyone away.'

PARANOID also inaugurated BLACK SABBATH's creative method that would stick: Iommi would compose the riffs, followed by Ozzy's melody implementation, Geezer (bassist) providing lyrics and Ward (drummer) structuring the rhythm.

Originally, the album was more a little more Satanic: War Pigs and its festival of doom was originally Walpurgis ' a reference to Satanists' 'Christmas' ' where Iommi wanted to express his concern over Satanists, 'these people who are running the banks and the world and trying to get the working class to fight the wars for them'. The band intended on making this track the title, but the record company perceived Paranoid's commercial potential (simple, hard rockin' riffs, how not?) and preferred it instead, a wise move. Electric Funeral, the nuclear apocalyptic omen, is an interesting track ' mostly lugubrious and prophetic, yet featuring an electric midsection jam. Rat Salad, apparently, had a 45-minutes-long drum solo' Ward just can't get enough of jammin'. Fairies Wear Boots tells the tale of Ozzy's terrible encounter with skinheads.

Planet Caravan is an astoundingly soothing and unfit track for the album's atmosphere, being a mixture of psychedelic and space rock that floats beyond conventions for the time ' distorted vocals, bongo playing and a jazzy guitar intersection ' and delves much further into the trippy portion than Pink Floyd ever had. Telling the tale of intelligent beings voyaging across the universe, they eventually glance upon Earth, 'the crimson eye / of great god Mars', a beautiful metaphor for humankind's incessant warmongering nature.

PARANOID is a musical milestone in every angle visible. Its subversive approach to music ruptured with the epoch's 'lightheartedness paradigm', giving prominence to heavier sonorities and themes unlike anything ever before. Not only this, but it also defied the ascending contemporaneous trend, progressive rock, being its opposite in many ways: sepulchral rather than theatrical; succinct rather than complex; conventional rather than purposely eccentric.

I urge anyone who didn't experiment PARANOID to do so as soon as humanly possible: not only it is a great heavy metal album, it is one of the foundational (great) heavy metal albums. In a certain way, you'd have to thank BLACK SABBATH whenever you listened to a metal band like, say, OPETH; well, thank them by listening to their magnum opus. I'm sure Iommi will be happy to know you're woke about the Satanists' true nature.

 David Gilmour by GILMOUR, DAVID album cover Studio Album, 1978
3.49 | 285 ratings

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David Gilmour
David Gilmour Prog Related

Review by Matti
Prog Reviewer

3 stars PINK FLOYD is a good example of a band in which the musical magic is a sum of many parts, and the relatively modest solo discography of its members underlines that fact. Think of Rick Wright: Broken China (1996) is sonically pretty interesting but in the end terribly boring. The winner of the foursome is undoubtedly the main songwriter Roger Waters, even if there had been only Amused to Death (1992) and the new album. And what about David Gilmour then? russellk's two-star review of this eponymous debut hits the nail by saying that Gilmour offers Pink Floyd "accessibility, professionalism and excellent guitar skills", and that this album "also shows us that Gilmour hasn't got a lot to say".

Which indeed doesn't mean it wouldn't be a fairly pleasant listen. Gilmour, practically teamed only with the rhythm section, does a good job as a musician and producer. The weakness lies clearly in the songwriting. The opening instrumental 'Mihalis' sounds good but it doesn't really go anywhere. Nor the sung songs are very memorable. Perhaps the most solid one 'There's No Way Out of Here' wasn't even written by himself. The strong lyricism of Waters is deeply missed here. The typically tidy Gilmourian blues flavour is well audible, for example on [another song!] 'No Way'. By the way, a Finnish-language adaptation of 'Short and Sweet', co-written with Roy Harper, appeared three years later on the album of singer-songwriter Hector.

The progressive aspect of this album remains sadly quite minimal. The relationship to the music of Pink Floyd can be recognized. On the nicely named instrumental 'Deafinitely' one hears some echoes from 'Sheep', or to be more precise, from its fanfare-like final section. (I happened to hear it live last Saturday on a wonderful prog covers -oriented gig, in which that composition was actually the least interesting one.) All in all, "David Gilmour" is a justified, if rather forgettable, addition to your Floyd-related stuff, but I'd rather recommend the more atmospheric On an Island (2006). 2½ stars rounded upwards.

 Ride The Lightning by METALLICA album cover Studio Album, 1984
4.09 | 537 ratings

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Ride The Lightning
Metallica Prog Related

Review by Luqueasaur

5 stars So let it be played, so let it be heard, it was sent here by the chosen ones: 9/10

To call RIDE THE LIGHTNING revolutionary is an understatement. It is one of the most meaningful thrash metal albums, not only for its unmatchable quality but also for its genre-defining characteristic. Up to this point, thrash was an undefinable mishmash of violence and speed metal; now, thanks to those lads, it meant much more, requiring meaningful lyrics and more sculpted arrangements rather than raw aggression. Finally, thrash diverged from "the quick and craziest, the better" mentality.

It also represented METALLICA's maturation: no longer were they the "let's trash this hotel while drinking beer" as of KILL 'EM ALL. Starting here, some of their most celebrated characteristics began to develop: unusual complexity in their sound; rich lyrics that go beyond the usual (for the genre) "venting" purpose: rather than just expressing visible indignation, they are rather metaphorical and psychological about it; most importantly, we begin to see a shyly gritty sonority - no, not angry sonority, like death metal, neither a suffocating sonority like black metal. Gritty.

Honestly, all those characteristics, exactly for not fully ripening, are on point. RIDE THE LIGHTNING doesn't sound overly pessimistic as MASTER OF PUPPETS and neither as aggressive like in KILL 'EM ALL. Instead, virtus in medium est.

The most meaningful characteristic of RIDE THE LIGHTNING for me is the absolutely killer riffage and presence anthemic songs. Not a single track fall shorts on inspiration and energy, the title track and Creeping Death being unparalleled thrash hymns. METALLICA's unexpected burst of innovation brought us a gem. HIGHLY recommended for metal fans. If you didn't give this a shot, you should do. You will be...

... thunderstruck.

 Pike 268 - Sonar Rainbow by BUCKETHEAD album cover Studio Album, 2017
3.00 | 1 ratings

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Pike 268 - Sonar Rainbow
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

— First review of this album —
3 stars BUCKETHEAD (as Bucketheadland) / Pike 268 - Sonar Rainbow / 25th release of 2017 / All instrumental / Contains 4 tracks / Clocks in at 29minutes 35seconds / everything played by Buck-buck-buckethead.

"Sonar Rainbow" (11:27) the longest track begins with an ambient flow and echoey clean guitar which insinuates a possible non-rock type of album but lo and behold a guitar jumps in and then like lemmings so does the bass and drum section. It continues to jam on building up a melody but slightly before the three minute mark slows down back to the echoey guitar type of intro but only for a while as a guitar solo erupts for a while. As it continues it becomes a repetitive sequence of guitar chords with a bluesy guitar solo around it. The production is pretty cool as the guitar sounds are processed in interesting ways that give a crisp unusual type of distortion to them, however the music is just like a gazillion other PIKEs that have this same jamming around a repetitive chord sequence. Personally i find it a bit boring

"The Maddening Of Mercury" (6:56) begins with a heavily distorted guitar riff that is downtrend and sounds rather monstrous with a few little squeals stuck in and then a guitar solo sputters all around it. The riff becomes a bit more chaotic. This one has a really cool hellish sound as it's all murky and highly cacophonous. When a guitar solo erupts again the riffs take a break but they come back soon enough. I like this one a lot. It has a rather loose compositional style with all kinds of different counterpoints that aren't predictable unlike the previous track. The bouncy distorted riffs have some jittery time signatures that seem a bit erratic as well. Half way through it changes it up and creates a more frenetic riff meets solo sequence. Lots of changes and dipping into strange surreal segments. Nice.

"Debris" (2:37) is a jittery little number that hops, skips and jumps around like a decapitated chicken but then settles into a steady beat and rhythm with crunchy guitars but also deviates into little dissonant segments that last a while before moving on. There is a dissonant relationship between the riffs and the lead guitar. Also very progressive in its time signature run. Another cool track.

"Venomous Fog" (8:35) starts out ambient like the first track but then jumps into a heavy guitar riff. After it properly introduces itself it quiets down for a few seconds. This one sounds much like the beginning track with a repetitive sequence of chords that allow the lead guitar to wank over although they appear less often at first and let the riffs simply do their rhythmic thang. It basically alternates between the heavier passages and then quiets things down for a while. The melodic development remains constant for the entire track. Another been there, done that a million times before type track. Not bad but fairly meh.

The first and last tracks are meh but i love the second two enough to give this three stars.

 Astra by ASIA album cover Studio Album, 1985
2.57 | 217 ratings

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Astra
Asia Prog Related

Review by The Crow
Prog Reviewer

2 stars A short-lived new phase for Asia!

After the fiasco of joining forces with the missed Greg Lake and parting ways with Steve Howe, Asia tried to retrieve the right path with Astra, joining with the young and talented guitarist Mandy Meyer. But the result was an uninspired and very foreseeable album with some of the lowest moments in the band's history.

Meyer's heavier approach to prog gave some of the song a litter "heavier" feeling, but that was not enough to recover the energy and strong songwriting that Asia had on their first album. Let's talk about the songs...

Go is a lousy attempt to make another hit, just very predictable. Voice of America lacks some kind of hook, and its chorus is a just shameful. Hard on Me is better, a good AOR song with strong riffs. One of the highlights? of the album. It strangely remembers me of what John Payne would make in this band years later.

Whishing opens with a beautiful keyboard arrangement, but after that it turns into a poppy AOR tune which lacks real interest beyond its beautiful guitar bridge. But while Rock and Roll Dream is an obvious attempt to make something progressive and symphonic, is by far the best track on the album. And the funniest moment despite its repetitive chorus.

But then comes Countdown to Zero, a pitiful ecological song with bad songwriting. And so, the album goes on till the end... Love Now till Eternity is just uninspired, Too Late is another lousy attempt to make a hit, and Suspicion is far from being memorable despite its good keyboard solo.

After the War is another attempt to sound progressive and symphonic, but it's just pompous. But it contains a good guitar solo and good guitar melodies, giving an idea of how good Meyer really was and how wasted he was in this record.

Conclusion: the first Asia album were by no mean great records, but pretty enjoyable nevertheless. But this Astra does not reach the good copositive level of Asia and Alpha, despite its good guitars and lavish production, making hearing this disc a boring and uninteresting experience, despite a pair of good songs. For this reason, I consider this album worthy just for fans of Asia's first era, is there are still some out there.

Best Tracks: Hard on Me, Rock and Roll Dream.

My rating: **

 Out Of The Silent Planet by KING'S X album cover Studio Album, 1988
4.04 | 66 ratings

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Out Of The Silent Planet
King's X Prog Related

Review by The Crow
Prog Reviewer

4 stars After almost 30 years after its release, Out of the Silent Planet still sounds fresh and surprising!

King's X are not strictly progressive. They are an alternative hard rock band from the end 80's which decided to mix their Rush and progressive influences with a strong song-oriented songwriting, a bit commercial but complex enough to appeal the prog fans. It's like Saga meets Rush but with a touch of grunge and alternative rock in the vein of Pixies or Sonic Youth. That makes the sound of King's X kind of unique and interesting.

The sound is the album is also pretty good, with emphasis on the strong Ty Tabor guitars and the outstanding voice of Doug Pinnick, one of the best prog singers of all time in my opinion. Jerry Gaskill is also solid on his drums, making King's X a true power trio in the best tradition of the mentioned Rush.

Out of the Silent Planet opens with In the New Age, a powerful and modern song with great guitar sound making a very good alternative hard rock tune. But Goldilox is even better with its great lyrics and the impressive vocals from Pinnick. A mellow and catchy song, and a real King's X classic. Power of Love is a bit more conventional, typical hard rock from the 80's very well sung.

Wonder is maybe the lowest point of the album, despite its good chorus. Just too repetitive! But the album gets better with Sometimes, funnier and with another good chorus. King is even better with its distorted bass line and good choirs, while What is this? offers interesting psychedelic voices together with an impressive singing on the choir.

Far, Far Away is the most progressive track of the album and one of my favorites. Great guitar melodies! A song which influenced in the progressive sound of the 90's. Shot of Love remembers me to the best Extreme with its vocal melodies, and it has surprising folk melodies in its riffs. Visions is a mid-tempo with an accelerated final section, leaving a very good impression.

Conclusion: Out of the Silent Planet supposed a great debut for King's X. A band which sounded just great despite its youth, with powerful guitars, an impressive voice talent who also plays bass pretty well, together with a strong drummer. This album is a very stimulating mixture of hard rock, alternative rock and some prog elements, with full of splendid songs, catchy chorus and great songwriting. Recommended!

Best Tracks: In the New Age, Goldilox, King, Far Far Away.

My rating: ****

 Paranoid by BLACK SABBATH album cover Studio Album, 1970
4.29 | 862 ratings

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Paranoid
Black Sabbath Prog Related

Review by The Crow
Prog Reviewer

4 stars An essential album in rock music history!

But also not a perfect one, of course. For that the sound and production should be better, and the overall songwriting stronger. Don't get me wrong, there are true classics in here, but also a pair of fillers which not deserve the status or masterpieces.

Black Sabbath forgot a bit their blues-rock roots in this second release and they increased the importance and weight of the riffs, achieving this "heavy" and sound that together with albums like Deep Purple's In Rock would plant the seed of heavy metal.

War Pigs starts with sirens and heavy guitars, which introduce one hell of a riff and vocal melodies from Ozzy, who sings a critic and apocalyptic text with dark passion. The riffs salad towards the end of the song is just magnificent! Just like Paranoid, another milestone from this album despite its repetitiveness. Sadly Planet Caravan comes with its boring psychedelia, making a true setback, which vastly dismisses with Iron Man, maybe the best song in the whole record and with the riff in Black Sabbath's history. And there is a lot of riffs in Tommy Iommi's career!

Electric Funeral is together with the song Black Sabbath the birth of doom metal, mixed with some very heavy passages towards the end. It's also a pleasure to hear how the stoner rock was born with songs like Hand of Doom, despite being not so remarkable like other classics from this disc. Rat Salad is forgettable in my opinion, despite the grandiose Bill Ward's efforts on drums.

Fairies Wear Boots, like the previous track bring back the style of the debut album, constituting a solid ending for Paranoid.

Conclusion: Paranoid is one of the best albums from Black Sabbath. Is not my personal favorite, but I recognize the sheer importance of its heavy riffs, slow hard passages and accelerated rhythms in the creation of heavy metal, doom metal and stoner metal. It has three outstanding songs, three very good ones and two just passable. Excellent overall and maybe not so important for prog, but necessary to understand modern rock music.

Best Tracks: War Pigs, Paranoid, Iron Man, Electric Funeral, Hand of Doom.

My rating: ****

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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
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DREAMLAND United States
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ESQUIRE United Kingdom
EVOLVE IV United States
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FAIRPORT CONVENTION United Kingdom
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FLIGHT 09 Uzbekistan
FLYING COLORS United States
FM Canada
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HELP YOURSELF United Kingdom
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MOONDANCER Japan
MUSE United Kingdom
NOW United States
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OYSTERHEAD United States
PAGE AND PLANT United Kingdom
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I POOH Italy
DAVORIN POPOVIC Yugoslavia
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RAINBOW Multi-National
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MIKE RUTHERFORD United Kingdom
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SATIN WHALE Germany
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SIGNS OF ONE Canada
DAVE SINCLAIR United Kingdom
PETER SINFIELD United Kingdom
SLINT United States
SOLSTICE COIL Israel
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STRAWBERRY FIELDS Poland
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STYX United States
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SUPER FURRY ANIMALS United Kingdom
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SYMPHONIC SLAM Canada
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ALDO TAGLIAPIETRA Italy
TALKING HEADS United States
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TIRED TREE Sweden
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VANGELIS Greece
VICTOR Canada
OLIVER WAKEMAN United Kingdom
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JOHN WETTON United Kingdom
WHALEFEATHERS United States
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ZON Canada

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