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PROG RELATED

A Progressive Rock Sub-genre


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Prog Related definition



No musical genre exists in a vacuum. Not all of the bands that have been a part of the history and development of progressive rock are necessarily progressive rock bands themselves. This is why progarchives has included a genre called prog-related, so we could include all the bands that complete the history of progressive rock, whether or not they were considered full-fledged progressive rock bands themselves.

There are many criteria that the prog-related evaluation team considers when deciding which bands are considered prog-related. Very few bands will meet all of this criteria, but this list will give an idea as to some of the things that help evaluate whether an artists is prog-related or not.

1) Influence on progressive rock - The groundbreaking work of artists like Led Zepplin and David Bowie affected many genres of rock, including at times progressive rock. Although both of these artists created rock music in a dizzying array of genres, both contributed to the ongoing history of progressive rock several times within the span of their careers.

2) Location - Progressive rock did not develop at the same time all over the world. It may surprise some people that as late as the mid-70s the US had very few original progressive rock bands that did not sound like exact copies of British bands. Journey was one of the first US bands to present a uniquely American brand of prog-rock before they eventually became a mainstream rock band. We have collaborators from all over the world who tell us which bands helped the progressive rock scene develop in their corner of the globe, even if those bands were like Journey and were known more for being mainstream rock bands.

3) Members of important progressive rock bands - Although most of the recorded solo output of artists like Greg Lake and David Gilmour falls more in a mainstream rock style, their contributions to progressive rock in their respective bands insures them a place in our prog-related genre.

4) Timeliness - Like many genres, prog-rock has had its ups and downs. In the late 70s and early 80s prog-rock was barely a blip on the radar. During this time artists such as David Bowie and Metallica released albums that captured key elements of the spirit of prog rock and did so while contributing their own original modern elements to the mix.

5) Integral part of the prog-rock scene - Sometimes you just had to be a part of the scene during a certain time period to understand how some bands fit with the prog rock scene of their time. Although Led Zeppelin, Black Sabbath and Wishbone Ash may seem like mere hard rock bands, in their time they stood apart from other hard rockers with their more serious lyrical content and more developed compositions. Put simply, in the early 70s every prog-rock record collector usually had full collections of all three of these artists. These three bands were very much part of the prog-rock scene without being total prog-rock bands them selves.

6) Influenced by progressive rock - From the late 60s till about 1976 the progressive tendency was in full effect in almost all genres of music. Once again, as we enter the second decade of the 21st century a melting pot of prog-metal, math-rock, progressive electronics and post-rock influences have once again made a progressive tendency in rock music almost more a norm than a difference. Yet in other periods of musical history receiving influence from progressive rock could really set a band apart and make them worthy of our prog-related category.
Being influenced by progressive rock is hardly the only factor we look at, and in some periods of musical history it is almost meaningless, but still, it is almost a given that most of the artists listed in prog-related were influenced by the development of progressive rock.

7) Common sense - Nitpicking over the above listed criteria is not necessarily the correct way to evaluate a band for prog-related. Sometimes you just have to use some common sense and look at the big picture.
A very good way to describe prog-related would be to imagine an exhaustive book that covered the history of progressive rock. Would such a book include references to led Zeppelin's 'Stairway to Heaven', David Bowie's 'The Man Who Sold the World' or Queen's 'Bohemian Rhapsody'? Probably so.
- Easy Money

Prog Related Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Prog Related | More Top Prog lists and filters

4.37 | 763 ratings
LED ZEPPELIN IV
Led Zeppelin
4.36 | 545 ratings
QUEEN II
Queen
4.27 | 642 ratings
A NIGHT AT THE OPERA
Queen
4.25 | 631 ratings
PARANOID
Black Sabbath
4.20 | 566 ratings
BLACK SABBATH
Black Sabbath
4.22 | 453 ratings
ARGUS
Wishbone Ash
4.15 | 512 ratings
SEVENTH SON OF A SEVENTH SON
Iron Maiden
4.17 | 334 ratings
RISING
Rainbow
4.15 | 360 ratings
THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS
Bowie, David
4.19 | 246 ratings
HUNKY DORY
Bowie, David
4.10 | 482 ratings
MASTER OF PUPPETS
Metallica
4.10 | 466 ratings
POWERSLAVE
Iron Maiden
4.07 | 491 ratings
SABBATH BLOODY SABBATH
Black Sabbath
4.11 | 254 ratings
HOUNDS OF LOVE
Bush, Kate
4.01 | 561 ratings
PHYSICAL GRAFFITI
Led Zeppelin
4.18 | 142 ratings
SECRET TREATIES
Blue Öyster Cult
4.03 | 367 ratings
HEAVEN AND HELL
Black Sabbath
3.99 | 487 ratings
MASTER OF REALITY
Black Sabbath
4.01 | 379 ratings
RIDE THE LIGHTNING
Metallica
4.12 | 172 ratings
SCARY MONSTERS (AND SUPER CREEPS)
Bowie, David

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Latest Prog Related Music Reviews


 Troisieme Etoile A Gauche by DÉCAMPS, CHRISTIAN album cover Studio Album, 1997
3.95 | 3 ratings

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Troisieme Etoile A Gauche
Christian Décamps Prog Related

Review by b_olariu
Prog Reviewer

4 stars Christian Decamps is one of the leading figures in prog rock history not only in France but I like to think that in Europe in general. He is the founding member of legendary Ange in 1970 and since then the band was a houshold in prog rock realm, specially in the glorious '70. In 1979 he got first album under Cristian Decamps et fils moniker working together with his son Tristan on next releases, a duo that in the end was very valueble keeping in mind that under this name he realse some respected albums over the years. One of the better albums if not the best release under this name is for sure Troisieme etoile a gaughe, issued in 1997 at Musea records. I must confess I was very very pleasent surprised about the music offered, unexpected great, fresh and full of great ideas. Besides Christian on vocals, his son Tristan on keyboards, the guitarist Hassan Hajdi done a fantastic job here, really great chops , solos and guitar noodlings like on Quasimodo, Op'ra Cosmique clocking around 12 min a pure pleasure, like all pieces. Similarities with Ange only here and there, even in vocal department there is not so present that theatrical atmosphere, this time the arrangements are precise, inventive and catchy. I really like this album, in places the music can rival easely with best of Ange. Recommended, for fans who like eclectic prog with symphonic touches. Underated release in my opinion. 4 stars for sure.

 Blue Horizon by WISHBONE ASH album cover Studio Album, 2014
4.40 | 11 ratings

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Blue Horizon
Wishbone Ash Prog Related

Review by Kingsnake

5 stars Wishbone Ash are still going strong. The new millenium is very constistent. Andy Powell has a steady and energetic group of musicians in his band. For almost seven years the line-up is the same.

This new album is exactly what you woul expect from the Ash: folkrock, bluesrock, progrock and even some jazzfusion, lots of twinleads, beautiful melodies, some riffing, some clean guitar. They even added some fiddle in two songs.

Andy is perhaps not the most famous and outstandig leadvocalist but he always does a good job.

This album reminds me sometimes of Argus but also Illuminations, There's the Rub and No Smoke Without Fire.

This is not only one of the best records the band ever put out, but perhaps even the best record of 2014 of any band.

 King Biscuit Flower Hour Presents GTR by GTR album cover Live, 1997
2.91 | 15 ratings

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King Biscuit Flower Hour Presents GTR
GTR Prog Related

Review by Guillermo
Prog Reviewer

3 stars This live album, released in 1997, presents GTR sounding better playing in concert than in their self- titled studio album from 1986. Recorded in Los Angeles in July of 1986, and with the addition of a keyboard player (Matt Clifford) to the line-up because apparently the guitar synths technology from those years was still not very reliable. The main "stars " in the band obviously were Steve Hackett and Steve Howe, but the other musicians of the band played very well, particularly drummer Jonathan Mover, whose drum kit sounds more at the front of the mixing than in the studio album. The playing of all the musicians is more "raw" and clear than in the studio album. But having only one studio album from the band forced them to play all the songs from the album (but "Toe the Line" was the only song from their album which was not included in this live album or was not played at that concert, but it appears in other live recordings from the band), so Hackett and Howe played some songs as soloists, with or without the band, even playing "I Know What I Like" and some excerpts from other songs by Genesis ("After the Ordeal" and "In that quiet earth"), and "Roundabout" from Yes, plus a song called "Prizefighters" which was not included in their studio album. The style of the band still is very Pop Rock in most songs, like in their studio album, but maybe the most Prog Rock moments are from the songs "Imagining", "Hackett to Bits", "Pennants", and "Spectral Mornings". GTR, like Asia, was a so-called super-group from the eighties, put together with some very good Prog Rock musicians but with the main aim to play Pop Rock music to satisfy the new audiences from that decade plus the money making ambitions of managers and record labels. Apparently, GTR lasted for about two years, but like in the case of a super-group from the late sixties called Blind Faith (not Prog Rock), it really showed that despite some musical success it could not last for very long, leaving their members not very happy. So, Hackett left the band after the tour was finished, unhappy with the way the band was managed and the Pop style of most of their music. So, GTR remains as a memory from that decade on which Prog Rock music lost some popularity and some of the Prog Rock musicians had to adjust their music and looks to the "new tastes" of the record labels, managers, producers and the "new" audiences. Anyway, this is a good live album from GTR. Still very Pop Rock in style, but good anyway.
 Fragile by PARSONS BAND, ALAN album cover Singles/EPs/Fan Club/Promo, 2013
1.00 | 1 ratings

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Fragile
Alan Parsons Band Prog Related

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

— First review of this album —
1 stars Let's make a song that sounds like Pink Floyd's greatest hits!

After the split with Eric Woolfson in the early 90's (or the late 80's depending on whether you count Freudiana as an Alan Parsons Project album) Alan Parsons continued under his own name. Between 1993 and 2004 Parsons released four studio albums, but during the last ten years he has released only a couple of live albums and a couple of singles. In 2010 came the single All Our Yesterdays and in 2013 the present one called Fragile.

The digital version of Fragile that I have (available on Spotify and iTunes among other places) features only a single track (hence, no B-side). There is however a CD version that holds two further tracks, one of which is a radio edit of the same song and the other a live version of Luciferama taken from the upcoming live album LiveSpan.

Clocking in at under four minutes, Fragile is a rather straightforward, acoustically driven song. The overarching goal of Fragile seems to be to sound as much as Pink Floyd as possible. Think Comfortably Numb or Wish You Were Here (the song). Fragile is not a bad song as such, but it comes across as a somewhat blatant attempt to mimic these of Pink Floyd's most popular and accessible tunes (of course, Parsons is already strongly associated with that band in virtue of being the sound engineer on Dark Side Of The Moon) and thus maximizing the hit potential. It is too safe a bet really.

If there had been an original B-side on this single, perhaps an instrumental like there was on the All Our Yesterdays single, and not only some radio edit or familiar live track, then I would probably give two stars. But as it stands, this lone track is not interesting enough to justify investigation. Only completionists will need to get hold of this single.

 All Our Yesterdays by PARSONS BAND, ALAN album cover Singles/EPs/Fan Club/Promo, 2010
2.05 | 2 ratings

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All Our Yesterdays
Alan Parsons Band Prog Related

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

2 stars Project nostalgia

The Alan Parsons Project proper seized to be in the early 90's (or rather already in the late 80's as Freudiana is not strictly speaking by "the project"). Alan Parsons then continued under his own name, playing live as well as releasing further studio albums in 1993, 1996, 1999, and the latest (full-length) release to date in 2004. This is now ten years ago already and since then it has been quiet in terms of new material. This single from 2010 being an exception, containing two new tracks.

The A-side is called All Our Yesterdays and is a song that would not have been out of place on one of the project's albums. It is a catchy tune with hit potential that will appeal to fans of Parsons and the project, but it will not impress anyone expecting something adventurous or progressive. As the title implies, it is a backward-looking exercise, celebrating the golden days of the 70's and 80's.

The B-side Alpha Centauri is an instrumental that seems to be based on the blueprint of Sirius from 1982's Eye In The Sky. While it hardly breaks any new ground, it is nice to hear that he's till got it. I like it more than the A-side really, but together the two tracks captures very well two different sides of the project. Needless to say it is impeccably produced.

Even without Eric Woolfson, Parsons has here created something that is very much in the style of The Alan Parsons Project and fans of that band will not be disappointed. There is no sign that this single foreshadows a new album though.

 Remain In Light by TALKING HEADS album cover Studio Album, 1980
4.16 | 116 ratings

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Remain In Light
Talking Heads Prog Related

Review by Chicapah
Prog Reviewer

4 stars I've never considered the New Wave and punk movements that entered the scene in the late 70s to be negative influences on rock music. Not in the least. That decade was all about diversity so those trends fit right in. (It's what the vile MTV virus would turn them into during the 80s that would forever taint their legacy.) While I was never a huge fan of many of their practitioners I did find the rebellious, non-conformist impetus they brought to the stage refreshing, especially when compared to the mind-numbing disco craze that the world at large couldn't seem to be able to get enough of. I wasn't much interested in the raw, bare-bones stuff the Ramones or the Sex Pistols were offering but adventurous groups like The Police and Elvis Costello's bunch were experimental enough to turn this progger's head from time to time. I also liked what I was hearing from Talking Heads. Their first three albums firmly established them as a creative force in popular music to be reckoned with but it was their close association with their envelope-pushing producer Brian Eno that truly set them apart from the bandwagon riders who came and went in the span of one or two LPs. Alas, with the change in decades came great upheavals in my personal life that diverted my attention from what was going on rock & roll and I lost touch with Talking Heads and many other artists/groups of their ilk. In other words, I missed out on what was contained in records like "Remain in Light" until recently when I finally got around to lending it an unbiased ear. It's quite impressive and supports my theory that the New Wave phenomenon might've become even more ground-breaking had the "let's make cute videos" disease not infected it.

They open with the solid "Born Under Punches" and immediately you're dropped into a very funky, polyrhythmic current that grooves underneath David Byrne's short, quirky vocal phrases and contrastingly smooth chorus lines. No doubt Eno had a big hand in developing Jerry Harrison's inventive synthesizer effects while the remarkable countermelodies manufacture a hypnotic aura that puts the listener in a trance. "Cross-eyed and Painless" is more along the lines of what I expected. David's exaggerated singing and the track's bratty motif are somewhat dated by now but the song avoids tedium due to the clever incidental sounds that zip in and out of the number. I didn't realize that these guys were on the cutting edge of using sampling and loop technology in their compositions but it's evident on "The Great Curve" that they weren't afraid to venture off the reservation into that realm. The tune's considerably more up-tempo pace is driven by its exploratory Latin and Afrobeat amalgamations that are presented without any electronic augmentations and it steams along like a locomotive. It's intimated that Adrian Belew contributed some of the guitar work to this album and I suspect it's his alarming solo that fries my brain cells (in a good way) on this cut. The multi-layering of the vocal patterns is exceptionally well-designed and tactfully mixed into the aural gumbo. "Once in a Lifetime" is the most recognizable song included and it deserves its notoriety. It's an incredibly unique and memorable tune that brilliantly utilizes lyrical alliteration to make a profound impact. While it's built upon the simplest of foundations it still magically avoids becoming monotonous and that's never easy to do with this type of song.

"Houses in Motion" sports a background pulse reminiscent of what Sly Stone had dabbled in seven years earlier on "Fresh" but failed to follow through on due to his debilitating addictions. Think David Bowie covering James Brown and you'll get the gist of what I'm babbling on about. The psychedelic trumpet ride is an other-worldly treat. "Seen and Not Seen" follows and it's kind of an Americanized version of the World Beat vibe Peter Gabriel had been heralding since leaving Genesis and going on his own. I love how they took unconventional rhythmic approaches and covertly blended them into the mainstream so the average Joe could thus be educated on its charms without realizing it. "Listening Wind" is another highlight of the proceedings. An Indian atmosphere permeates the mood of this number, differentiating it from the prior cuts. Byrne's flowing, river-of-consciousness lyrics and odd vocal lines are mantra-like at times while Belew's imaginative guitar work adds a palpable aura of exciting unpredictability. They close with "The Overload" wherein an eerie, cavernous drone envelopes the track and sets a macabre tone. If anything it shows that they had little interest in being "commercially viable." It also confirms that they were dedicated purveyors of soundscape constructions, following in the footsteps of prog scientists like Robert Fripp and others.

"Remain in Light" was released on October 8, 1980 and, despite its eclectic nature, climbed to #19 on the album charts. Talking Heads was continuing to flourish because the younger, up-and- coming generation that bridged the cusp between the 70s and 80s had inherited a decent respect for musicians who strove to avoid safe, pedestrian complacency and fearlessly went wherever their muse led them. In other words, prog had yet to become a dirty word in the industry. It was still evolving in ways that no one could've dreamed it would, mainly due to digital innovations and the unjaded attitudes of the participants toward what was possible, so don't lump Talking Heads in with some of the inane ensembles that infiltrated society via MTV a few years later and brought progressive thinking to a screeching halt. "Remain in Light" is a great listen that hasn't lost its curious yet alluring personality over the decades and deserves any progger's precious time. 3.8 stars.

 Asia by ASIA album cover Studio Album, 1982
3.14 | 382 ratings

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Asia
Asia Prog Related

Review by MJAben

1 stars There are several reasons why I think this album is deserving of one star.

One, it isn't prog, if it weren't for the stellar line-up I doubt this would even be on this website and even still, it's under 'Prog Related' for a reason. At a base level I cannot understand what differentiates from music such as Journey, Boston or Europe. This is arena rock with little to no prog and, I feel as a result of that, the album couldn't deserve more than three stars based on that fact alone.

But here's why it doesn't even deserve that.

It's cheesy, beyond cheesy... This is downright laughable at times. I am listening to an album from Steve Howe and John Wetton or am I listening to 'a thousand and one renditions of 'Eye of the Tiger''. I'm sorry but that's how this album comes across.

The album is a clear attempt to make money, and although there is nothing inherently wrong with that (if I ever chose to became a professional musician I would go into pop simply for the money) the fact still remains. I get that the style of artists change over time and I would never want an artist to play the same style of music over and over again but, at the same time, this is beyond musical change, this is similar to Genesis' 'Invisible Touch', its an album that screams "lets get some hits".

On top of that, I can't think of an album that better illustrates "why prog went to **** in the 80's". Perhaps this isn't a fair criticism but my father recounts when growing up how this album symbolized how all of his prog icons were gone and why he largely lost interest in music at this point in his life. I know I can't blame a single band for the loss of prog in the 80's but, it does seem to perfectly encapsulate the changing attitude of many 70's prog musicians.

But here's my largest complaint, and the reason that I feel the album most deserves one star, the diversity... This album may be the least diverse "prog" album I have ever heard where every song feels like a cheap copy of the previous song in an attempt to spew out as many hits as possible and while, one or two songs on an album in this style wouldn't go amiss, an entire album of this causes the album to feel dull, repetitive and downright lazy.

There is a real strength in writing a good pop song, but writing the same pop song over and over again and calling it an album is less of a strength. At some level the music is catchy, but just because it's catchy doesn't mean it's good.

As a pop album 2/5 stars

As a prog album 1/5 stars (I would rate it lower if I could).

 Gravitas by ASIA album cover Studio Album, 2014
2.49 | 35 ratings

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Gravitas
Asia Prog Related

Review by robbob

4 stars I have been a follower of Asia since their beginnings. Yes Asia is prog related...is pop prog...but in this vein one of the best groups.

Maybe Asia Asia was the only one in a line of symphonic heavy prog. Then...in a more popular line.

Maybe it got better(in my opinion yes) with their other singer(second era) When Wetton returned ...it returned the Asia "Time Will Tell"..Asia" Astra" line again.

In the second era another sound ...solid..AOR rock ..a good heavy pop prog... This album is more in that line and in the level of Arena...or Aura...the best albums of the second era.

I found the last ones(before this) very bad pieces of music ...but I enjoyed this one...ans I enjoyed it not as as very prog material but...as a quite good rock music.

So an improve since their last albums.

In this kind of prog related or pop prog for me 4 stars.

 Gravitas by ASIA album cover Studio Album, 2014
2.49 | 35 ratings

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Gravitas
Asia Prog Related

Review by Thandrus

4 stars Contrary to popular opinion, I think this new Asia album is their best after original line-up reunion. Despite the stellar line up (well, without Howe this time), I think people should have already learnt what to expect from the band - good old AOR, with Wetton's characteristic melodic touch. Of course, not all of their albums were successful even in this field (for example Omega and XXX were quite dull-ish.), but on Gravitas they finally achieve what they aimed for.

The two opening songs show us that we are not to expect any deviations - they are both based on a simple, repetitive but very beautiful chorus, which manages to never bore you in those quite long songs. There are three more songs that exploit this simple song title-chorus formula (Nyctophobia, I Would Die For You, Till We Meet Again) result is again pretty pleasant, if not extraordinary.

Some of the songs are on ballad or slow side, which somehow echo Wetton's excellent "Battle Lines" album. Everyone of them is good, especially in the chorus department, with some of them (Russian Dolls, Heaven Help Me Now) being really excellent.

There are a couple of things to be said about the overall sound. New guitar player really fits this simple and direct style of today's Asia. In the last few albums Howe seemed to be bored from his own limited input - here, even riffs sound energetic, even if simple. On the other hand, the biggest problem here is Downes' choice of background strings. They are quite irritating sometimes and drag the album a bit down for me.

But overall, all of this is quite exciting to listen. While not having any masterpiece aspirations, this album is the best they've done since reuniting. 3,5 stars, but when if I have to choose, I'll gladly upgrade to 4. Now let's wait for Payne's Asia to finally release something. My personal expectations are very high.

 Simpukka-amppeli by ABSOLUUTTINEN NOLLAPISTE album cover Studio Album, 1998
2.05 | 2 ratings

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Simpukka-amppeli
Absoluuttinen Nollapiste Prog Related

Review by Matti
Collaborator Neo-Prog Team

2 stars - First Review Of This Album -

This third album by the Finnish long-lived group is not among their best. Proggy elements are very few here, though A.N. have never been an unquestionable prog band. The album represents their laconic, personal style quite faithfully but remains rather forgettable compared to the better albums. Most songs are simple indie pop-rock with a strong emphasis on Tommi Liimatta's stiff vocals, even featuring regular chorus structures. Often the low-key manner in singing brings some sense of monotony; happily the playing is more up-beat and relaxed. As a lyricist Liimatta is always original. For example on 'Ajoratamaalaus' the protagonist is the painted line on the highway. In all the lyrics there are peculiar observations of everyday life, from an unusual point of view, and it's really hard to figure out what these persons are up to.

I may have to rate this album low in this prog environment, but it must be said that at the same time this is very easy one to have a listening pleasure in smaller scale. I mean it's harmless and fairly sympathetic pop-rock with a good dose of identifiable personality. Guitar is the leading instrument and it often plays good melodies. The pop sensibility here is easy to like, mostly free of commercial taste, and there's also much more variation and complexity in rhythm patterns than in mainstream pop/rock. For a newcomer who comes from the pop side of music rather than the prog side, this is a good aperitif after which it's good to continue into other, better and perhaps a bit more demanding albums.

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Prog Related bands/artists list

Bands/Artists Country
10CC United Kingdom
14 BIS Brazil
801 United Kingdom
ABEDUL Spain
ABSOLUUTTINEN NOLLAPISTE Finland
ACIDENTE Brazil
AERODROM Yugoslavia
AGNUS DEI Austria
AGUA DE ANNIQUE Netherlands
DON AIREY United Kingdom
ALBERO MOTORE Italy
ALWAYS ALMOST United States
THE AMBER LIGHT Germany
AMBROSIA United States
JON ANDERSON United Kingdom
ARIEL Australia
ASIA United Kingdom
ATLANTIS United States
PETER BARDENS United Kingdom
SYD BARRETT United Kingdom
LUCIO BATTISTI Italy
BEAU DOMMAGE Canada
BIJELO DUGME Yugoslavia
BLACK SABBATH United Kingdom
BLACKFIELD Multi-National
BLODWYN PIG United Kingdom
BLUE ÖYSTER CULT United States
JEAN-PASCAL BOFFO France
THE BOLLENBERG EXPERIENCE Belgium
DAVID BOWIE United Kingdom
BRAM STOKER United Kingdom
BUDGIE United Kingdom
KATE BUSH United Kingdom
BYZANTIUM United Kingdom
JOHN CALE United Kingdom
CARNEGIE United States
CASA DAS MÁQUINAS Brazil
THE CHURCH Australia
CITY Germany
CITY BOY United Kingdom
CLOUDS United Kingdom
STEWART COPELAND United States
CRUACHAN Ireland
MARTIN DARVILL & FRIENDS United Kingdom
BRIAN DAVISON'S EVERY WHICH WAY United Kingdom
FABRIZIO DE ANDRÉ Italy
CHRISTIAN DÉCAMPS France
DEUS Belgium
DIABOLUS United Kingdom
DIR EN GREY Japan
DREAMLAND United States
ER. J. ORCHESTRA Ukraine
ESQUIRE United Kingdom
EVOLVE IV United States
EX CATHEDRA United States
FAIRPORT CONVENTION United Kingdom
THE FIRE THEFT United States
FLIED EGG / STRAWBERRY PATH Japan
FLIGHT 09 Uzbekistan
FLYING COLORS United States
FM Canada
FOTHERINGAY United Kingdom
ELOY FRITSCH Brazil
FUGATO ORCHESTRA Hungary
AVIV GEFFEN Israel
DAVID GILMOUR United Kingdom
GORDON GILTRAP United Kingdom
GOD BLESS Indonesia
GODLEY & CREME United Kingdom
GOLDEN EARRING Netherlands
GROUNDHOGS United Kingdom
GTR United Kingdom
GUDDAL (YNGVE) & MATTE (ROGER T.) Norway
GYGAFO United Kingdom
THE HAPPENINGS FOUR Japan
HELP YOURSELF United Kingdom
KEN HENSLEY United Kingdom
ROGER HODGSON United Kingdom
HORIZONT Sweden
INDIGO Austria
IRON MAIDEN United Kingdom
JACKSON HEIGHTS United Kingdom
JAPAN United Kingdom
JEAN-MICHEL JARRE France
JON & VANGELIS United Kingdom
BRYAN JOSH United Kingdom
JOURNEY United States
KALEVALA Finland
ERIC KAMPMAN United States
KESTREL United Kingdom
KING'S X United States
KINO United Kingdom
KLAATU Canada
KORNELIJE KOVAC / KORNELL KOVACH Yugoslavia
KREUZWEG Germany
GREG LAKE United Kingdom
LANA LANE United States
LED ZEPPELIN United Kingdom
GEDDY LEE Canada
JOSIPA LISAC Yugoslavia
JON LORD United Kingdom
MAGELLANMUSIC United States
MAGNA CARTA United Kingdom
MAGNUM United Kingdom
YNGWIE MALMSTEEN Sweden
MÅNS MOSSA Sweden
GERARD MANSET France
PHIL MANZANERA United Kingdom
NICK MASON United Kingdom
MASTERPLAN Multi-National
MATTER OF TASTE Austria
PETER MATUCHNIAK United States
MAX WEBSTER Canada
MERCURY REV United States
METALLICA United States
MINDFIELDS Poland
MOONDANCER Japan
MUSE United Kingdom
NOW United States
OFFENBACH Canada
OM ART FORMATION Bulgaria
OYSTERHEAD United States
PAGE AND PLANT United Kingdom
THE PARLOUR BAND United Kingdom
ALAN PARSONS BAND United Kingdom
PHISH United States
I POOH Italy
DAVORIN POPOVIC Yugoslavia
PRIMUS United States
QUEEN United Kingdom
RAIN FOR A DAY Germany
RAINBOW Multi-National
TERRY RILEY United States
LAZA RISTOVSKI Yugoslavia
ROCKFOUR Israel
MIKE RUTHERFORD United Kingdom
SADISTIC MIKA BAND Japan
SATIN WHALE Germany
SERU GIRAN Argentina
SIGNS OF ONE Canada
PETER SINFIELD United Kingdom
SLINT United States
SOLSTICE COIL Israel
STEELEYE SPAN United Kingdom
STRAWBERRY FIELDS Poland
STREAM OF PASSION Netherlands
STYX United States
SUI GENERIS Argentina
SUPER FURRY ANIMALS United Kingdom
SVANN Poland
SYMPHONIC SLAM Canada
SYNERGY United States
SYNOPSIS Estonia
ALDO TAGLIAPIETRA Italy
TALKING HEADS United States
TAMOUZ Israel
TANTALUS United Kingdom
TIRED TREE Sweden
TITANIC Norway
TOY MATINEE United States
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