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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 | 956 ratings
LED ZEPPELIN IV
Led Zeppelin
4.37 | 678 ratings
QUEEN II
Queen
4.28 | 806 ratings
PARANOID
Black Sabbath
4.50 | 176 ratings
BLACKSTAR
Bowie, David
4.28 | 783 ratings
A NIGHT AT THE OPERA
Queen
4.23 | 730 ratings
BLACK SABBATH
Black Sabbath
4.20 | 673 ratings
SEVENTH SON OF A SEVENTH SON
Iron Maiden
4.21 | 562 ratings
ARGUS
Wishbone Ash
4.20 | 517 ratings
THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS
Bowie, David
4.19 | 379 ratings
HUNKY DORY
Bowie, David
4.17 | 427 ratings
RISING
Rainbow
4.12 | 630 ratings
POWERSLAVE
Iron Maiden
4.09 | 599 ratings
MASTER OF PUPPETS
Metallica
4.09 | 641 ratings
SABBATH BLOODY SABBATH
Black Sabbath
4.18 | 251 ratings
SCARY MONSTERS (AND SUPER CREEPS)
Bowie, David
4.05 | 718 ratings
PHYSICAL GRAFFITI
Led Zeppelin
4.04 | 627 ratings
MASTER OF REALITY
Black Sabbath
4.17 | 203 ratings
SECRET TREATIES
Blue Öyster Cult
4.05 | 480 ratings
RIDE THE LIGHTNING
Metallica
4.01 | 783 ratings
LED ZEPPELIN
Led Zeppelin

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Latest Prog Related Music Reviews


 3 Foot Clearance by BUCKETHEAD album cover Studio Album, 2011
3.91 | 4 ratings

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3 Foot Clearance
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars BUCKETHEAD is not only the master of confusion in categorizing his music due to his genre blender and musical smoothie approach of unorthodoxies but he is a nightmare for those even trying to categorize his albums in a database. This album is the perfect example of how crazy this dude's discography is.

Originally released on 21 Dec 2010 as an untitled album with untitled tracks and then renamed HAPPY HOLIDAYS FROM BUCKETHEAD (with still untitled tracks) that included a hand drawn holiday greeting card drawn by BUCKETHEAD himself as a limited edition. Each edition was an original hand drawn cover. It was basically a homemade dealie bop to give the fan an artist's hands-on feel. This was released just before the beginning of the PIKE series and then the album was re-released as the regular edition and renamed PIKE 3 - 3 FOOT CLEARANCE under the BUCKETHEADLAND moniker on 17 Aug 2011 with the new album cover that fits into the PIKE series. The album is unique in the PIKE series for being one of the few to be significantly over the half hour mark by clocking in at 40:23

Of course if that wasn't enough. The tracks are all the same but moved around depending on which edition it is and there were different versions of different editions. Someone give me an aspirin, please. THIS review covers the track order of the PIKE 3 - 3 FOOT CLEARANCE edition

"Griffin's Spike" starts out as a heavy metal rocker with a classic metal riff that is powerful and loud. After building up the melody and rhythmic patterns we are treated to an outstanding tasty emotionally provocative guitar solo, the kind that sets BH apart from the others. This is a pretty decent opener although it's not the most original thing he's ever done. It still however reaffirms he can make "normal" heavy metal :P

"Rammellzee: Here Of The Abyss" Well, he couldn't stay normal too long. This one starts out with a stop and go type of riff and a "chirping" sound. It's definitely a heavy metal track but has more progressive time sigs. It continues the patterns and has some electronica flair ups and wah-wah guitar parts as well. It ends with a Hendrix inspired guitar riff. Another decent track.

"Floating Graveyard" starts off creepy and slow with an echoey guitar and background noises. It breaks into a slow tempo doom metal riff with a higher register lick and then speeds up to a nice bouncy metal rocker and then back to the doom riffage. It continues to alternate between the two styles adding bluesy solos.

"Ballad Of Jerry Mono" lives up to its name and is a slowed down number that starts out with clean echoey guitar with that jittery riffage BH is known for. The track develops melodically and remains slow with an uptick of speed at the end where a guitar solo shreds into the scene. The percussion is pretty busy for a ballad and follows the jittery echoed guitar's lead.

"H.D. Autopsy" does a total 180 and we get an instant frenetic thrashy guitar riff and then some sizzling guitar soloing that sounds like wailing souls or angry ghosts. Not sure which.

"Droid Hunt" is weird. It is mostly electronic noises that sound like a machine malfunctioning and then joined in by a funky bass line with a cool funky guitar as well. The riff trades off with the "talking robot" effect of the electronically manipulated guitar(?). Very cool and very original. Strange time sigs and strange lead guitar that accompanies in the end. Ends franticly.

"Battlefields" is another rowdy metal rocker where guitars, bass and drum attack with full fury. It slows down a bit and carries out a more subdued riff for a while and then alternates with the speedy one. OK and kind of the type of track he'd do to death on future PIKES.

"Handprint Ornament" is another slowed down mid-tempo track with clean guitars and a bass that is more energetic. There is ambient keyboards in the background and the instruments take turns dropping out and letting the others have a chance to shine. The guitar solo is slow and melodic, not fast.

"Three Headed Guardian" starts out with what sounds like a harpsichord but then breaks into a jangly alternative rock sound which adds a bluesy guitar lick over the top and then the jittery riffs come into play. It eventually turns into a strange kind of mellow thrash and then a classic heavy metal sound and then fast guitar solos that become freaky.

"Harpoon The Goon" starts out as a hard bluesy rock riff, kinda like old AC/DC then breaks into a heavy bluesy rock riff with lots of percussion and cymbal action. Pretty much creates a blues rock melodic development. Nothing special but well done and then has some slower parts that remind me of ZZ Top breaks but becomes a bouncy AC/DC rocker again.

"Critical Leg Assignment" cranks out an avant-garde feedback scratching effect? This is the strangest track on here. It has a nice steady drum beat with an oddly-timed guitar doing strange chugging that follows. It manages to throw in a weird guitar solo. I love it! So original and BUCKETHEAD at his most freaked out state.

"Siamese Butterfly" is a short little heavy rocker that has only a guitar riff and a drum playing together in a strange time sig dance. It all changes it up often in different ways in its 1:56 playing time. Very original and pretty cool. Lots crammed into this one. Kind of a psycho-bluegrass feel to the whole thing.

"X-Ray" (0:49) is a strangely distorted guitar riff that stops and goes really fast and then goes really wild and then before you know it the album is done.

I love this one! This one crams the traditional with the zany. These early PIKEs rock!

 The Ultra Zone by VAI, STEVE album cover Studio Album, 1999
3.64 | 72 ratings

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The Ultra Zone
Steve Vai Prog Related

Review by Prog Leviathan
Prog Reviewer

3 stars Guitar-virtuoso Steve Vai sends us another collection of excellent, personality-filled, artful hard rock jamming with Ultra Zone, his 5th release. More so than his other works that I've heard, this one is all about Steve's fingers doing crazy things to his guitar. Half of the songs on this album are instrumental set pieces, each with a distinct vibe and varying shred-factor. Vai is a killer player, and if you're into guitar and rock, it's hard to be disappointed. Each of these instrumentals (which take up the entire first side of the album), are crisp, modern, and filled with personality. While none of it is especially daring or experimental from a songwriting perspective, Steve's playing makes them a lot of fun; great for some rocking background grooves, but also creative enough to reward careful listening. Some make more of an impact than others, but all are solid. Vai handles vocals for the remaining songs, which are also great. There's an inherent likability when it comes to Vai's playing that makes this work easy to enjoy.

For many listeners, Ultra Zone will be a fun rock album with crazy guitar effects; for musicians aficionados, it could be an academic experience. I sit somewhere in the middle. I had a lot of fun with Ultra Zone, but was left wanting more in terms of scope or composition. That seems crazy to say, given Vai's pedigree, but I didn't feel a sense of build or drama with this release; each song could be taken on its own, and while a great experience when taken in isolation, the album as a whole doesn't drive home a musical message beyond a sense of playfulness. This isn't a bad thing, just something that makes Ultra Zone a good but not great release for me. Lots of fun when the mood strikes.

Songwriting: 3 - Instrumental Performances: 5 - Lyrics/Vocals: 3 - Style/Emotion/Replay: 3

 Master of Puppets by METALLICA album cover Studio Album, 1986
4.09 | 599 ratings

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Master of Puppets
Metallica Prog Related

Review by CassandraLeo

5 stars Does the world really need another review of Master of Puppets? Probably not. But it's the album that got me into more extreme forms of metal, and as such has had an immeasurable impact on my musical taste, so I'm going to write one anyway.

To fully appreciate this album in its proper context, one must first be aware of the background: Metallica burst onto the scene in 1983 with Kill 'Em All, which has been called the first full-length thrash metal album ever recorded. This consensus is not universally shared among listeners; some will point to Venom's 1981 effort Welcome to Hell instead (note that Venom also had a substantial influence on the yet-to-be-named style of black metal, which actually takes its name from the band's second album). Regardless, what is a matter of consensus is that Kill 'Em All rewrote the rules of metal. It was faster, louder, and heavier than anything that had been released before, and it did not sacrifice musicianship in the pursuit of these goals.

Metallica, however, were not content to rest on their laurels. They began incorporating substantial progressive rock influence on their next album, Ride the Lightning, and even incorporated an honest-to-god ballad as the fourth track (though, in a form that Metallica would repeat several times throughout their career, it eventually built to metallic sections). The band also incorporated a lengthy instrumental showcasing the skills of bass monster Cliff Burton (named for H.P. Lovecraft's Cthulhu mythos, no less), and the album also featured one of their signature songs, "Creeping Death".

However, even that monster of an album couldn't have prepared people for what was to come in Master of Puppets. No one had ever done anything like this album before. The song were longer and more complex than ever, the aggression was generally higher than ever, and the quality of the music surpassed Metallica's already high standard. From the opening acoustic notes of the album opener "Battery" to the last thrashy chords of the closer "Damage, Inc.", there is not a single moment here that qualifies as even remotely dull. The band's intense musicianship doesn't let up even once; there is not a single moment on the album where Burton, Hetfield, or Hammett aren't playing something technically fascinating. Indeed, the only respites from the album's frenetic pace after the distorted guitars come in on "Battery" are the lyrical solo on the title track, the opening half of the album's obligatory fourth-track part-ballad "Welcome Home (Sanitarium)", the more subdued moments of the instrumental "Orion", and the opening chords of "Damage, Inc." (It has become a Metallica tradition for the first half of the fourth track to be a ballad and the penultimate track to be an instrumental; they have repeated this with ...And Justice for All and Death Magnetic).

The production on this album is almost perfect. The instrumental clarity is astonishing for a metal recording made in 1986, and the fidelity remains superb whether the band are playing with their amps turned up to 11 or whether they're playing a more subdued clean passage. The album is mixed quite well, with all its dynamics intact. My only complaint with the album is that I'd like the bass to be a little higher in the mix, but at least it's still audible, which can't be said for the band's next album, ...And Justice for All.

Master of Puppets remains Metallica's highest artistic achievement. It's more polished than Ride the Lightning, more unrelenting than Death Magnetic, and doesn't have the fatal production flaws that marred ...And Justice for All (or the original version of Death Magnetic, for that matter). It also doesn't help that the band's virtuoso bassist Cliff Burton tragically perished in a bus crash after this album. His successors Jason Newsted and Robert Trujillo are no slouches on their instrument, either, but no one could truly have match the standards Cliff set. Additionally, it might be a slight exaggeration to say the genre of progressive metal wouldn't even exist without this album, but it certainly would sound a lot different. Every metalhead needs to have this album in their collection, and if you aren't a metalhead yet, it just might make you into one.

 Lar de Maravilhas by CASA DAS MÁQUINAS album cover Studio Album, 1975
3.53 | 33 ratings

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Lar de Maravilhas
Casa Das Máquinas Prog Related

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Casa Das Máquinas released three LP's between 1974 and 1977, their debut and third album offering hard-rock songs, but smack-bang in the middle of those two in 1975 was `Lar de Maravilhas', their most interesting and dynamic work that has since come to be recognised as something of a minor classic of prog-rock originating from Brazil. While adventurous rock would probably be a more accurate description than full-blown progressive rock, their hard-rock style here was loaded with spacey keyboards, symphonic arrangements, intricate direction changes and great variety, all driven by strong melodies sung in Portuguese with confident vocals and skilled instrumentation.

Opener ` Vou Morar No Ar' swaps acoustic guitar-lifted verses for soaring group harmonies and funky electric guitars over swirling spacey synths in place of a chorus. The title track `Lar De Maravilhas' has plenty of passionate plucked acoustic guitar and sweet group harmonies that float like a soothing breeze, but it also jumps back and forth between doomy slow-burn electric guitars and a distorted, other-wordly treated vocal. `Liberdade Espacial' is an addictive smouldering grooving rocker with nice thick bass and a cool melting synth break in the middle, there's traces of Yes throughout `Astraliza''o' with its rolling electronics, buoyant bass, weeping guitars and restrained symphonic Hammond organ finale, and lethargic echoing voices and cooing chorus harmonies of `Cilindro C'nico' get blasted with fiery electric guitar wailing and up-tempo rattling drums in the second half.

With its lengthy instrumental bookended passages, `Vale Verde' is the big pure prog moment of the disc, not far removed in parts from the sounds of German bands Novalis' `Sommerabend' and Epidaurus' `Earthly Paradise' albums. A positive whirling Moog theme, E.L.P-like Hammond bluster and eventually soft falsetto harmonies glide through the piece, and the dramatic symphonic ending is legendary. The pretty `Raios de Lua' is a dreamy and romantic acoustic ballad that warmly embraces, but `Epidemia de Rock' is nothing more than a throwaway (if still well performed) rock 'n roller that would have been more at home on the debut or follow-up album `Casa de Rock'. The band close on the two-part `O Sol/Reflexo Ativo' that opens with a lengthy narration delivered by a drifting psychedelic voice (almost reminding of a similar introduction on the closing piece `Encyclopedia Terra' off German band Mythos' debut) before surging into a triumphant Hammond and Mini Moog-laden symphonic climax.

The mix of hard and acid rock, spacey instrumentation and progressive inventiveness with pop smarts throughout `Lar de Maravilhas' proves to be very addictive, and the sumptuous vocals and harmonies just lift this wonderful album even higher. It's well-worth picking up if you've already got plenty of the `big' bands and albums in your collection and are looking to expand it with more obscure yet equally worthwhile releases, so you can't go wrong with Casa Das Máquinas' defining musical statement.

Four stars.

 Death Magnetic by METALLICA album cover Studio Album, 2008
3.37 | 329 ratings

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Death Magnetic
Metallica Prog Related

Review by CassandraLeo

5 stars Most people already know what they think of Death Magnetic, but the general consensus, with which I do not disagree, seems to be that it's a striking return to form that was fatally marred by absolutely abysmal production. It's considered one of the worst examples of the "loudness war", a trend in which engineers crank out dynamic range compression to ever-increasing levels in the pursuit of loudness, at the expense of sound quality. If done ineptly, as was the case here, it results in digital clipping that removes the peaks and troughs from the audio signal and results in a distorted, muffled sound. Admittedly, metal is supposed to sound distorted, but not like this.

As a result of the abysmal mastering, fans generally resorted to various fan-made mixes of the Guitar Hero III versions of the tracks, which surprisingly were not subjected to the digital clipping of the other versions, and the irony that the erstwhile anti-Napster poster boys had an album that could only truly be appreciated through piracy was widely noted. While Death Magnetic is not the all-time worst example of this on a well-known rock record (that would be Iggy Pop's remaster of the Stooges' Raw Power, although there are albums that are even worse, such as Merzbow's mid-'90s albums Venereology and Pulse Demon, though this was probably done for artistic purposes in Merzbow's case, particularly considering that this trend is usually absent from his work), the album has nonetheless become a byword for terrible mastering, and fans begged the band to remaster it for years.

In 2016, Metallica finally answered their prayers, and I am happy to report that the new version is a night-and-day improvement. The digital clipping that plagued the original album is (mostly) gone on the remaster, and the album's dynamic range is literally more than twice that of the original. It's still a loud record when compared to the releases of the '80s and earlier, but it actually sounds like music now. The remaster also fixes some other flaws of the original version, such as a weak bass sound. I'll have to run some A/B tests to decide whether I can retire the Guitar Hero version, but the mere fact that I'm not certain of this is testament to how well produced this remaster is. Whenever I wrote about this album in the past I had to mention the loudness war caveats, but I can finally unconditionally recommend this album. Five stars.

 3:47 E.S.T. by KLAATU album cover Studio Album, 1976
3.31 | 97 ratings

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3:47 E.S.T.
Klaatu Prog Related

Review by Mellotron Storm
Prog Reviewer

3 stars I remember back in the day as a teenager hearing about KLAATU on the radio and how many felt that they were THE BEATLES posing under a different name. All not true of course but it certainly helped in selling their albums. There are two songs on here that were on the radio here in Canada back then including the excellent "Calling Occupants Of Interplanetary Craft" along with "Sub Rosa Subway". I was more familiar with THE CARPENTERS version of the opening number which was faithful to the original and well done I must say. KLAATU were a trio with elements that made THE BEATLES comparisons inevitable including the vocals, harmonies and horns. There is a lot of variety on this album though and for my tastes not all of it works but I have to say overall that this is a solid debut album by this band.

"Calling Occupants Of Interplanetary Craft" is such a great song with the subject matter, reserved vocals and horns early on as the mellotron rolls in. Love this song! "We are your friends" is a line that seems lame to me though. Processed vocals around 3 minutes followed by piano as it picks up. I like the vocal arrangements here. A calm after a dramatic section before 4 1/2 minutes. "California Jam" is BEACH BOYS-like just not nearly as good in my opinion. Harmonies galore. It's okay. "Anus Of Uranus" has silly lyrics and lots of abrasive guitar, it rocks pretty good. "Sub Rosa Subway" was the other song on the radio here back then and it's a feel good THE BEATLES-like tune with lots of horns and harmonies.

"True Life Hero"is an uptempo rocker, it's okay. "Doctor Marvello" is the other song besides the opener to have mellotron on it. It does have an interesting sound to it with the vocals, beat and mellotron. "Sir Bodsworth Rugglesby" reminds me of the lame and silly songs that ELP liked to throw on there albums. Not a fan at all. "Little Neutrino" is the longest tune at 8 1/2 minutes and it's different from anything else on here. An eerie start as processed vocals arrive after 1 1/2 minutes with strings, a beat and more. The processed vocals will continue throughout this experimental track.

This record reminds me of some of the best SAGA albums I have in that there are a few really good songs and a bunch of average or below tunes. Well worth the 3 stars of course and I will always enjoy "Calling Occupants Of Interplanetary Craft".

 Electronica 2: The Heart of Noise by JARRE, JEAN-MICHEL album cover Studio Album, 2016
3.08 | 6 ratings

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Electronica 2: The Heart of Noise
Jean-Michel Jarre Prog Related

Review by admireArt
Collaborator PSIKE Team

3 stars From YELLO, Gary Numan, The Orb and Edward Snowden to Cyndi Lauper, Peaches, The Pet Shop Boys and other more contemporary guests like Primal Scream, it is hard not to feel entertained.

Jean Michel Jarre delivers some solo pieces and for the second time invites important or remarkable electronic related colleagues and names this release "Electronica 2: The Heart of Noise", 2016, the sequel to his "Electronica 1: The Time Machine", 2015.

I assume the best way to review this release is as a Various Artists album. For starters, before getting tangled in such a concept, J.M. Jarre, opposite to what one will suspect as his lengthy SOLO discography might suggest, is a perfect team player! ! He can blend as fire to fire to any of his guests' style, no matter if he has never played on those fields and yet imprinting his signature music language in the mix.

Now as the V.A. focus demands, if you do not enjoy, for example The Pet Shop Boys (as myself), well you are not going to get your kicks for starters, unless you accept the V.A. tagging and then maybe you might be in for some surprises. I myself felt happy with the inclusion of YELLO, and extra delighted with their collaboration, but not that amazed with the extraordinary Gary Numan's one (it lacks his usual gloomy "punch') and extremely surprised with the unknown to my ears Jeff Mills', Peaches' or Cristophe's songs and so on.

I also own his first ELECTRONICA and a similar thing happened with it (dissapointed with the Tangerine Dream and Pete Townshend collaborations but amazed with the Laurie Anderson's or Massive Attack's one and so on..), therefore in able to truly enjoy both releases you have to accept the idea of listening to some stuff you would usually avoid by rule.

This release is entertaining. Some great stuff (as a couple of his solo pieces included), some perfectly performed, out of my taste, ones and another few of forgettable ones.

I would have preferred to give a single 4 stars rating to both albums if they were one, but separately each deserves ***3.5 stars, on the rise!

 Hoist by PHISH album cover Studio Album, 1994
3.08 | 34 ratings

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Hoist
Phish Prog Related

Review by aglasshouse

3 stars People who like and follow the band Phish seem to forget this one, something that I'll admit I've done on several occasions. A mid-90's album that sort of rehashes and mellows down the art-rock style they developed on Rift, Hoist is an album that inspired a similar playing style of a blend of soft rock epics, shorter more eclectic pieces hailing to their earlier days, and blanket rock-and-roll. This particular style is one of my personal favorites of the band, and in my opinion led to some fantastic songwriting that was able to remain simple yet still have that edge of complexity (see Billy Breathes). Highlights of Hoist include the hard rocking 'Down With Disease', incorporating some funkiness spewed by Gordon, the mellow epic 'Lifeboy', and 'Sample in a Jar'. Perhaps my favorite track is the eclectic closer 'Demand', which subtly shifts moods several times throughout, from boisterous to more avant-garde to extremely climactic-so much so that the song ends with a literal crash and the sound of mourning a Capella. It is slightly worth noting that there is a lyrical reference in the song to 'Squirming Coil', a track on the 1990 Lawn Boy album.

Hoist is mainly a skip-able work of Phish. It has an overall sense of clunkiness and doesn't have the best flow as an album itself. As for individual tracks, there are some definite keepers that not only I found interesting but were indeed added to the vast Phish live repertoire. Mediocre? A bit. But I still suggest that it deserves at least a try, no matter if you are a 'phan' or a prog-enthusiast or simply a fan of rock.

 Second Flight: Live At The Z7 by FLYING COLORS album cover Live, 2015
3.07 | 15 ratings

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Second Flight: Live At The Z7
Flying Colors Prog Related

Review by rdtprog
Special Collaborator Prog Metal / Heavy Prog Team

3 stars The first cd of Flying Colors was done by Steve Morse and Neal Morse as the second was the results of the collaborations of each member which gives more variety and quality in the music. The music is still song/vocals oriented almost AOR and Pop with progressive elements. The most progressive and longer tracks are "Open up Your Eyes" and "Mask Machine" with more complex time signatures. Neal Morse's keyboards while not having a major role like in his solo career brings some atmosphere in the music, also McPherson does most of the singing. We are in front of talented musicians here. Dave Larue in the first song add some interesting bass lines to the melody. Steve Morse's guitar solo are abundant and melodic. "The fury of My Love" starts as a ballad with piano and vocals and develop the melody in the Beatlesque fashion. I didn't enjoy the acoustic medley from Casey McPherson repertoire. There's plenty of typical classic pop rock songs in the edge of hard rock that include a welcome little rhythm change for Progressive listeners., but don't expect another Transatlantic or Spock's Beard type of music. Some tracks have too much simplicity, for example "Kayla" and "Shoulda Woulda Coulda", i suspect some humor in the latter, but "Cosmic Symphony" is quiet different and enjoyable. This concert is well presented with 24 cameras in high definition with two types of surround sound.
 The Serpent Is Rising   by STYX album cover Studio Album, 1973
2.99 | 95 ratings

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The Serpent Is Rising
Styx Prog Related

Review by poito

3 stars This is a transition album by the american band Styx, which in the 70's sailed between Rock and Prog. They began as a pure Rock band with little prog airs, and this is perhaps the last good Rock album they released. The Chicago sound was being abandoned and the band was about to become unrooted, maybe a necessary step to embrace Prog in the ensuing years in which they would release a few glorious Prog-Rock albums beginning with EQUINOX in 1975. Here you'll find a few nice rockers, As Bad As This, Jonas Psalter, and the title track. Great musicianship, good guitar riffs and splendid hammonds. To end with a curious version of Haendel's Hallelujah.
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10CC United Kingdom
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ABEDUL Spain
ABSOLUUTTINEN NOLLAPISTE Finland
ACIDENTE Brazil
AERODROM Yugoslavia
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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
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