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SYMPHONIC PROG

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

Symphonic Prog definition

Symphonic is without doubt the sub-genre that includes the most bands in Progressive Rock because for many people it's almost synonymous classic Prog, something easy to understand being that most of the classic and/or  pioneer bands released music that could be included in this sub-genre, except JETHRO TULL and PINK FLOYD (who still blended some symphonic elements), even KING CRIMSON who very soon expanded their horizons to more experimental music, made their debut with a Symphonic album, "In the Court of the Crimson King" which is a cornerstone in the development of the genre.

The main characteristics of Symphonic are the ones that defined all Progressive Rock: (There's nothing 100% new under the sun) which among others are:
  • Mixture of elements from different genres.
  • Complex time signatures.
  • Lush keyboards.
  • Explorative and intelligent lyrics, in some cases close to fantasy literature, Sci Fi and even political issues.
  • Non commercial approach
  • Longer format of songs

In this specific case the main characteristic is the influence of Classical music (understood as Orchestral works created from the late Gothic to Modern Classical) using normally more complex structure than other related sub-genres like Neo Progressive (That's why sometimes the borderline that divides Symphonic from Neo is so unclear being that is based mostly in a degree of complexity rather than in an evident structural difference)..It is easy to find long keyboard solos reminiscent of Johan Sebastian Bach or melodic works that could have been written by Handel.

As in any other genre, different Symphonic bands had different approaches to Classical music, for example YES and GENESIS are mainly influenced by the Baroque and Classical periods, while EMERSON LAKE & PALMER has a predilection for post Romantic and modern authors like Mussorgsky, Rimsky Korsakov, Bartok or Ginastera, being that their sound is less melodic and more aggressive.

The peak of the genre starts in 1969 and lasts until the mid/late 70's  (more precisely until the release of A Trick of the Tail), when the genre begins to  blend more mainstream influences that took to the birth of Neo Progressive (a new approach for a new decade).


It is important to remember that even though the creative peak of Symphonic Progressive ended before the 80's, we can find a second birth in the 90's coming from the Scandinavian countries (specially Sweden with ANGLAGARD or PAR LINDH PROJECT) and even bands that still in the 21st Century recreate music from this period like SPOCK'S BEARD or ECHOLYN.

Before ending this short description I feel necessary to say (In order to be strictly accurate) that the term Symphonic is not 100% exact, because these bands very rarely played symphonies and was probably used because the music that influenced the genre was performed by Symphony Orchestras, but it is so widely accepted by the Progressive Rock community that would be absurd and futile for anybody to attempt a change after so much time.

Iván Melgar Morey, Peru 2006



Symphonic Team

Current Team as at 09/07/17

Iván Melgar Morey (Iván_Melgar_M)
Anton Fritz (SouthSideoftheSky)
RdtProg (Louis)

Symphonic Prog Top Albums


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

4.66 | 4002 ratings
CLOSE TO THE EDGE
Yes
4.63 | 3724 ratings
SELLING ENGLAND BY THE POUND
Genesis
4.60 | 3232 ratings
FOXTROT
Genesis
4.44 | 3154 ratings
FRAGILE
Yes
4.42 | 2817 ratings
NURSERY CRYME
Genesis
4.39 | 2352 ratings
MIRAGE
Camel
4.38 | 2017 ratings
MOONMADNESS
Camel
4.36 | 2719 ratings
RELAYER
Yes
4.38 | 1540 ratings
HYBRIS
Änglagård
4.35 | 1156 ratings
SI ON AVAIT BESOIN D'UNE CINQUIÈME SAISON
Harmonium
4.29 | 2657 ratings
THE LAMB LIES DOWN ON BROADWAY
Genesis
4.29 | 2550 ratings
THE YES ALBUM
Yes
4.29 | 2050 ratings
THE SNOW GOOSE
Camel
4.27 | 2290 ratings
A TRICK OF THE TAIL
Genesis
4.31 | 1041 ratings
SCHEHERAZADE AND OTHER STORIES
Renaissance
4.32 | 771 ratings
DEPOIS DO FIM
Bacamarte
4.24 | 1862 ratings
EMERSON LAKE & PALMER
Emerson Lake & Palmer
4.25 | 962 ratings
VILJANS ÖGA
Änglagård
4.25 | 911 ratings
HAMBURGER CONCERTO
Focus
4.22 | 984 ratings
LEFTOVERTURE
Kansas

Symphonic Prog overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Symphonic Prog experts team

SAECULA SAECULORUM
Saecula Saeculorum
BOOK OF HOURS
Willowglass
TALES FROM AN ISLAND - IMPRESSIONS FROM RAPA NUI
Blank Manuskript
SKRYVANIA
Skryvania

Latest Symphonic Prog Music Reviews


 En El Comienzo Del Topos Uranos by NEXUS album cover Studio Album, 2017
3.97 | 71 ratings

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En El Comienzo Del Topos Uranos
Nexus Symphonic Prog

Review by Mellotron Storm
Prog Reviewer

4 stars NEXUS are a band out of Argentina that I have had the pleasure of knowing for over ten years. Lalo Huber is the main man here playing a variety of keyboards including mellotron which I must say is more prominent on here then on any of their previous albums I have heard. It's mostly an instrumental affair with some guest female vocals on one track which are brief. Other than having several different bass players over the years the lineup has stayed very consistent. This album fits in nicely with some of my favourites from them like "Metanoia" from 2001 which is my favourite along with "Perpetuum Karma from 2006, and "Buenos Aires-Free Experience, Volumen 2" from 2007.

There's not many albums that I can actually remember a listening experience with but I still remember sitting in my vehicle listening to "Metanoia" in a parking lot and not wanting to get out to go into the store because I was being blown away by the powerful keyboard sounds. I'd say this album is my fourth favourite from them at this point but over time that may change. 4 stars regardless right now. Kind of strange that this band who usually puts out 70 minute albums created a record half that length but then added 3 bonus tracks to bring it up to around 56 minutes.

"El Ultimo Dia" opens in an incredible way with this powerful and haunting atmosphere but soon it's piano only before the drums and synths take over in this uptempo section. The guitar starts to solo before 2 minutes as the synths step back. Synths are back leading the way to the end and we get some mellotron before 3 minutes.

"La Casa Del Invierno" opens with piano only before the mellotron arrives creating atmosphere. Drums and synths after 1 1/2 minutes as the piano and mellotron continue. Guest female vocals before 3 minutes but they don't last long as the guitar arrives in this laid back section. Piano late to end it.

"Un Cristal Bajo El Agua" opens with piano but the mellotron joins in quickly. How good is the organ that follows. Drums and synths too then guitar. Man I love the mellotron in this one and the organ that brings RPI to my mind. It's more powerful 3 minutes in. This is good. Nice bass too. When it settles back after 4 1/2 minutes I'm thinking GENESIS with those synths at first but that changes quickly. More power before 5 1/2 minutes. So good!

"En El Tercer Planeta" opens with spacey synths but very quickly we get this driving rhythm with some killer drum work. Love those synths too. The bass is upfront as well. Great track! "Huellos" opens with what sounds like church organ but then acoustic guitar leads the rest of the way in this short and mellow song.

"Soplo De Vida" opens with synths and guitar before the tempo picks up with the drums joining in. Man I like the sound here. A good hard rocking start. Mellotron before 3 1/2 minutes. It settles around 6 minutes then it builds. Love the upfront bass and keyboards here.

The three bonus tracks are all really good and fit well with the rest of the songs so I'm not sure why they just weren't included as part of the original album but I'm glad they are on here.

 From Silence to Somewhere by WOBBLER album cover Studio Album, 2017
4.43 | 14 ratings

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From Silence to Somewhere
Wobbler Symphonic Prog

Review by Progfan97402

5 stars The wait was so long for Wobbler I simply assumed they broke up. Instead it simply took six years for them to follow up the great Rites at Dawn. Original guitarist Morten Andreas Eriksen had been replaced by Marius Halleland, which was truly the right move for the band. Nothing wrong with Morten, but if they needed a new guitarist, then they needed one compatible with the band, and of course Marius certainly fits the bill! He's at home with electric as the more calm Anthony Phillips or Steve Hackett acoustic end of things. Lars Fredrik Frøislie is up to his usual bag of tricks with the analog keyboards, with plenty of Moog, Hammond organ and Mellotron, as always. Lars seems to be a busy man, also involving himself with White Willow, Tusmørke, Opium Cartel, and others. This is a wonderful followup, with some incredible and intense playing from all around. The title track stretches to 20 minutes, and it doesn't bore you. This band figured out how to do a wonderful 20 minute piece. They had a little trouble on Hinterland with the 27 minute title track as it was a bit overlong for some. Not here. This is some incredible stuff, with some medieval stuff going on with the recorder, as well as some Änglagård moves and lots of great jamming. "Rendered Shades of Green" is a really doomy sounding piano and Mellotron-dominated piece that's very short. "Fermented Hours" is nothing short of incredible, the intensity is incredible. They are certainly no slouches here. "Foxlight" demonstrated the new guitarist knack for those gentle acoustic parts as well as more rocking electric guitar parts, and with some medieval stuff on krumhorn towards the end with that Gryphon or Gentle Giant feel to it. They really topped it here. This is bound to be a classic as far as I'm concerned. The only drawback is we'll probably have to wait another several years for another release. The huge wait for something new from Wobbler got me thinking the still-obscure Jordsjø had appeared on the scene creating similar type of prog to fill the void (hopefully they won't stay totally obscure for long, I hope they get as much recognition as Wobbler, they already now have a deal with Karisma Records, which From Silence to Somewhere was released). With so few releases from Wobbler, it's probably good as well. They could have been The Flower Kings clogging the discography with overlong CDs (frequently double CDs clocking at over two hours) and that meant serious hit and miss, and it's clear Wobbler didn't want to go that way (quality over quantity). There is no doubt about it, From Silence to Somewhere is Wobber's crowing achievement and a must have!
 Tr3s by TREM DO FUTURO album cover Studio Album, 2015
3.49 | 3 ratings

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Tr3s
Trem Do Futuro Symphonic Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

3 stars

So, back with their third album in 2015, the band had again made some changes in personnel, one of which being the loss of some of the founder members, including flautist Ulisses, although there is uncredited flute and saxophone on the album. Violinist Sidarta Guimarães was still there, and for the first time it felt as if the band had jumped forward in time as although this still contains Seventies influences, it no longer feels as if it was recorded during that decade. It also feels less British, and more Italian, while the production is also much better and even the artwork has been brought more up to date. This was a self-release at the time, and again it has now been made available by Progshine. Three albums in more than thirty years of existence certainly doesn't sound like very many, but given that they come from an area of Brazil where this music is rarely played, let alone recorded, perhaps it isn't surprising.

The opening song, "Viajantes Do Tempo" is one of the longest at more than eight minutes, but contains some passages that feel muddied, as if the arrangements weren't totally thought through properly, and this is something that unfortunately does happen at various places during the album. The result is something that feels brighter and more modern than before, but also doesn't have the musicality of the others, which means that the listener starts looking for faults and flaws instead of sitting back and letting the music wash over them. Of the three, this is the one I enjoyed least, and would still point to 'O Tempo' as being the album to start with.

 O Tempo by TREM DO FUTURO album cover Studio Album, 2008
3.69 | 15 ratings

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O Tempo
Trem Do Futuro Symphonic Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars

It may have taken the band fourteen years to release their debut, but they took only twelve to come up with their second. If possible, this one is even more drenched in the Seventies than the debut, and here Paulo's vocals definitely come across as being packed full of emotion. I found that when he was singing I kept thinking of the mighty Roger Chapman, as he is very much in the same style and manner. Musically this is complex symphonic prog, but although it was released on CD by Masque Records at the time (and now being made available by Progshine Records for the first time since then), I do wonder if the band provided the label with a finished tape as there are instances when the production is somewhat lacking, and instances when they should have re-recorded a passage. Not surprisingly, given the time between the two recordings, there had been a few line-up changes, but possibly the most interesting was Ulisses was still there on flute, they had also added Sidarta Guimarães on violin. It is rare to find both woodwind and strings in the same setting, but here it works very well indeed.

The band are at their best when they throw caution to the wind and indulge in rapid repeated passages where everyone is following the same melody. It is at places like this that their musicianship and understanding of the genre really shines. They are still mixing acoustic and rock, and with a Hammond Organ often coming into play, this certainly doesn't sound like an album recorded this century. There is more complexity and depth than with the original, with a wider use of instruments, including some very pleasant piano. Although it has some faults, this is far more complete than the debut, and is certainly worthy of further investigation.

 Trem Do Futuro by TREM DO FUTURO album cover Studio Album, 1995
3.48 | 16 ratings

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Trem Do Futuro
Trem Do Futuro Symphonic Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

3 stars The progressive rock band Trem Do Futuro (Train Of The Future) was formed in 1981 in Cear', a state located in the north-eastern region of Brazil. Given that this is area better known for its deep folk roots and rhythms, it perhaps isn't too surprising that it took some fourteen years for the band to build enough momentum to release their first album! The self-titled 'Trem Do Futuro' was released through the Progressive Rock Worldwide label in 1995. Since then it has been unavailable, and has now been released digitally for the first time, by Progshine Records, who keep unearthing gems from Brazil. It is obvious that the band were heavily influenced by both the British and Italian progressive scenes, while flautist Ulisses Germano had obviously been playing very close attention to Ian Anderson. His phrasing, and the use of clear sounds at certain points combined with a rougher much harder approach at others, intervening at just the tight time, is one of the highlights of this album. But, the band never sound like Tull, as their symphonic approach, combined with some folk influences, is quite different indeed.

The lyrics are sung in Portuguese, but even without knowing the language this is an album that can be enjoyed immensely and on the very first time of playing. The band are content to move between direct rock and acoustic styles, but they are let down at times with the quality of the production, and I'm still not totally convinced about singer Paulo Rossglow. It could be argued that he is singing with lots of emotion, but he doesn't always hit the note as true as he should. It doesn't sound like an album of the Nineties to me (apart from the odd keyboard sound), as this feels much more like a long-lost album from the Seventies as it feels genuinely of that period, as opposed to attempting to recreate something that had gone before. But, given that the band took fourteen years to release the debut album that may well have something to do with it as they did start playing together back in 1981. Overall this is an interesting album, and all power to Progshine for making it available again after so long.

 The Neal Morse Band: The Similitude Of A Dream by MORSE, NEAL album cover Studio Album, 2016
4.05 | 358 ratings

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The Neal Morse Band: The Similitude Of A Dream
Neal Morse Symphonic Prog

Review by Amilisom

4 stars In the months leading up to the release of "The Similitude of a Dream" it was clear in all the promotional material that Neal was particularly excited about this one. In more than once instance his drummer, Mike Portnoy, was even quoted in saying it was the album of his career. Since its release Neal even said on his Facebook page that it was his favorite album of his.

It's worth noting that "The Similitude" marks as the second album with the new lineup aptly named "The Neal Morse Band." Up until 2015, Neal Morse's solo albums mainly consisted of him, his drummer Portnoy, bassist Randy George, and a host of guest musicians who show up occasionally throughout the music. But with the release of 2015's "The Grand Experiment," Neal brought into the band two full-time musicians: Eric Gillette on guitar, and Bill Hubauer on keys. Both of which are also excellent vocalists. With the release of "The Grand Experiment" it was clear that Gillette and Hubauer had contributed somewhat to the songwriting style, giving the album a different flavor than the preceding Neal Morse albums. With this in mind, I looked forward to hearing another installment of this new flavor.

So how do I feel about it? It's pretty much the best album Neal has made since "Solo Scriptura," but I wouldn't say that it's better. The sharp, dramatic quality that holds together the excellence of his earlier concept albums like "Testimony" or "One" has been somewhat dulled here. Having said that, it was refreshing to hear another concept album that covers deep, theological ground, and "Similitude" does that in a very interesting way: writing the songs on themes from the 1678 book "Pilgrim's Progress."

So how's the music itself? Every time I listen through it I feel like I can hear the joy of everyone in the band. It just sounds like they had a blast recording this album. I was glad to see that Gillette and Hubauer have moments singing lead vocals. Even Portnoy sings on one track. The diverse character of each vocalist allows for them to fit different characters in different scenes, such as when Neal is playing the part of the sloth in "Sloth," urging the main character to sleep ("Why do you work so hard?"), and Gillette gloriously enters as the main character with lyrics climaxing on the line "I can't sleep or slumber or I could get lost here." There's also a very catchy track near the end of disc one with a possible Beatles influence, "The Ways of a Fool," which also has some excellent vocal tradeoffs as well as harmonizations that seem reminiscent of the Beach Boys. "Breath of Angels" has a gospel touch to it, "The Man In the Iron Cage" is built around a hard, bluesy guitar riff, and "Freedom Song" has more of a country/folk flair to it. Needless to say, the album diversely covers many of the styles seen on previous Neal Morse albums.

Would I recommend this album? Of course. Is it the best Neal Morse album? I wouldn't put it in my top three favorites. Overall I give it four stars, but it may be deserving of four and a half.

 Spot the pigeon by GENESIS album cover Singles/EPs/Fan Club/Promo, 1977
2.99 | 136 ratings

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Spot the pigeon
Genesis Symphonic Prog

Review by FalconBleck

3 stars #4 Review

Spot the Pigeon, the mini album that came after Wind & Wuthering and that signed Hacket's departure... it featured songs that didn't make it into Wind & Wuthering and we all know that there where much more than just 3 songs, but still nice to have atleast those.

As usual, i'll be scoring every song separately.

1.- Match of the Day 7/10 A song made to promote the game played on the cover, it's not bad but i find it a little repetitive and it doesn't have very interesting or "Genesis-like" lyrics. It's generic and falls on the short side, but it's still catchy.

2.- Pigeons 6/10 I find this song even more repetitive than the previous song, this also falls on the short side, but atleast it has better lyrics than the previous one, but the instruments get boring quickly.

3.- Inside and Out 9/10 The best song in this mini album, this should've been added to Wind & Wuthering, it's that good. It starts pretty melancholic and the lyrics make me cry a little, really pretty, but at half it changes into a really cheerful solo, the song feels pretty complex and full of life, and the piano solo in the second part sound like a violin for a moment, it's amazing.

All in all, this mini album gets a 73/100, wich is almost 4 stars, but i'll give it only 3, the first 2 songs are really not that worthy, but the last it's a must listen.

 This One's for England by DISCIPLINE album cover Live, 2014
4.74 | 45 ratings

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This One's for England
Discipline Symphonic Prog

Review by memowakeman
Special Collaborator Honorary Collaborator

5 stars This is freaking awesome!

It is incredible what Discipline has done to me, I already loved them when I discovered their Unfolded Like Staircase, and then in 2011 with the release of To Shatter All Accord, they became one of my favorite US bands, actually that release was my top 2011 prog album. Since then, I've been crossing my fingers hoping to see them on stage once, and seems that life has treated me well because I will be able to experience it really soon when they play at Progotoberfest, which really excites me.

In 2014 they released a two-cd live album which was recorded at the RoS Fest in 2012, an album that in my opinion is flawless, showing the incredible potential the band has on stage, with that evident VdGG feeling, the theatrical spirit of Parmenter and the amazing musicianship of Dzendzel, Kennedy and Bouda. These four musicians managed to transmit the countless stories and emotions their albums share, with that vivid and human touch concerts give, so the audience could get immersed into a sometimes dark, sometimes touchy, sometimes disarming atmosphere Discipline produce.

The song selection was perfect, only eight but making a running time of almost 100 minutes. At that time, they were promoting To Shatter All Accord, so it was pretty obvious they would open with "Circuitry", a wonderful track that shows the power of this band, which in my opinion has to be one of the best US prog bands since the 90s, sadly not so many people concur with me, but who agree, won't let me lie. A jump to the past comes next with "Before the Storm" with its two parts performed, and then with the nice "Blueprint" from their 1994 record Push & Profit.

Matthew Parmenter's voices is simply amazing, no matter if he reminds us of Peter Hammill, he has a very own sound produced by that theatrical and emotional tune he implements. From the 2011 they played then "Blueprint" first and then "When She Dreams, She Dreams In Color", the last song of the first CD, and a personal favorite of mine, I truly love that song and its final hypnotic instrumental part. I am really looking forward to witness this one soon.

You might ask why keeping only 3 tracks for a CD, but well, two out of them are magnificent epics. The first one is their famous "Canto IV", a true masterpiece released in 1997 that stays as one of my Discipline favorite compositions ever, it is wonderful to listen to its changes in mood in a live version. After the final epic the band performed "The Reasoning Wall", which might be my least favorite track, which doesn't mean it is bad or something related, not at all; and then, the concert finishes with the super 24-minute suite "Rogue", which is the one that also closes their 2011 album. Man, hope to be lucky enough to witness Rogue, it is incredible how those 24 minutes pass so fast, taking us into a true progressive rock bliss where the mind flies and is fed by countless colors and textures.

This album is of my recent favorite live releases, without a doubt. I'll tell you later how happy will I be after seeing Discipline on stage, I am sure it will be unforgettable!

Enjoy it!

 Captives Of The Wine Dark Sea by DISCIPLINE album cover Studio Album, 2017
3.51 | 62 ratings

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Captives Of The Wine Dark Sea
Discipline Symphonic Prog

Review by Warthur
Prog Reviewer

4 stars With the departure of founder member and long-serving lead guitar player Jon Preston Bouda, it's no surprise that Captives of the Wine Dark Sea represents something of a sonic shift for Discipline. With Chris Herin from Tiles stepping in on guitars, the sound of the album feels like an exploration of a path less taken - like the sort of material you'd get if, after the neo-prog-ish Push and Profit, the band had taken their sound in a more art rock direction instead of the symphonic prog-oriented sound of Unfolded Like Staircase or To Shatter All Accord.

That isn't to say that this is a simple or straightforward release, mind; in terms of the overall attitude, I'm reminded of the warped pop music sensibilities of Slapp Happy or late Art Bears running head-first into the dark energy of Discipline's big inspiration, Peter Hammill and VdGG. At point's there's a sort of prog cocktail jazz sound to proceedings, but whilst the album reaches a quasi-mainstream peak in the middle (Love Songs, in particular, comes across like a parody on the subject), it concludes with a two-set of songs which will doubtless please prog fans with their extended instrumental breaks, even if they aren't quite in the mode we are used to Discipline working in.

I get the feeling that this is a bit of a transitional release - at points it sounds more like one of Matthew Parmenter's solo releases, particularly given the extensive multi-instrumentalist duties he takes on here and the generally more conventional song structures he tends to go for on those - but Discipline are good enough that even their transitional works are worth paying attention to. Approach with an open mind and don't hold your hopes out for Unfolded Like Staircase 2: Unravelled Like Escalator and you'll probably get the best results.

 Albatross by ALBATROSS album cover Studio Album, 1976
3.12 | 42 ratings

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Albatross
Albatross Symphonic Prog

Review by tlehman

4 stars This is a bit of personal insight to the Albatross LP. I am Tom Lehman, one of the credited engineers (and the voice of Mr. Natural :-) on the album. I also ran the boards for Albatross' live gigs from 1974 to 1977.

This is a rehash of a review I did in 2011 (as tlehma) with a few corrections and updates for you completion-ists out there.

This album is certainly a rarity as there were only 2000 albums pressed. Given that the bulk of the albums was never distributed, or were trashed, makes it even more of a rarity! Add that to the fact that we never really expected it to find its way out of the Rockford area it is truly astounding that the LP has shown up in even international locations! I am truly amazed and gratified that there is still talk (good or bad!) of the album after all these years.

I have read the reviews here and on some of the other Prog websites and do not intend to challenge any of the reviewers or defend any part of the album. I would only like to offer a possibly different perspective on the music and the challenge of making an album of this type at that point in time.

Over the years I have lost contact with all of the band members except Joe Guarino (Bass)... Joe and I remain the best of friends.

Ah?. Before it fades into the mysts (sic) of memory here is what and how I remember it?.

Albatross - The Band

Mark Dahlgren Keys-Classically trained musician.

Mark was a classically, college trained, musician (Masters of Music Degree) and a monster talent. He composed all of the bands tunes. That, of course, is not to say that all of the other band members didn't contribute, they did! Mark's biggest fault (if it can be considered a fault) was a lack of consistency. When I first joined the band as the sound guy I was amazed at the technical prowess of Mark's playing. But, what I also discovered was that he had the nasty habit, at least to me, of rearranging on the fly! No two performances were the same! The rest of the band did an admirable job of adapting but things tended to occasionally go wrong. As soon as we had a PA that allowed talk-back through the monitors from the boards I would admonish Dahlgren with the words: "Consistency, Dahlgren, Consistency!" To Mark's credit he saw the value of a consistent group effort to the performance and reigned himself in (somewhat anyway :-).

Equipment included: two Mellotrons, two Mini-Moog Synthesizers, Arp Odyssey Synthesizer (note: I could have sworn he used two of these as well!), Hammond B-3 (note: I was talking to Joe recently and he remembers that he cut the organ down and put it into a road case for portability), two modified Leslies (we tossed iron filings down the horns to give them that "Keith Emerson sound"!), Fender Rhodes Piano that was later replaced with a Yamaha CP-70 Portable Grand Piano. Two Tapco Mixers dedicated to the keyboards and to sub-mix to his stage amp and monitors. Mark later picked up a guitar! I have no idea what the equipment was other than I believe the guitar was a Fender Stratocaster.

Joe Guarino Self-taught Bassist and Guitarist

I saw Joe's bass playing described as "plodding" in another review. I always thought of it as "Solid". Joe was a technically proficient and very solid player. His bass lines drove the band and provided the stabilizing foundation the band needed. And, although not utilized as a lead vocalist he had a pleasant enough voice and harmonized well when called upon to do so. As a bassist myself I was in awe of Joe's technical precision.

Joe is a very detail driven sort of person with a great ear for what is right. This attribute would serve him well in the studio and later in his sound company business ventures. Without doubt Joe was the most sensible and practical member of Albatross.

Equipment: Fender Precision Bass, Ampeg SVT head, Ampeg 8x10 cabinet (mic'ed), direct box to PA

Mike Novak Vocals-professional vocal coaching

Mike's singing was usually spot-on as far as pitch (after some voice lessons). He also wrote the lyrics for the tunes. The timbre of his voice was however? unusual. He always sang in an open voice and I can't remember him ever singing in a falsetto or anything but his own natural voice. Equipment: Shure Mics, for live sound equipment see below. Mike had a great out-going personality and was great fun to be around.

Dana Williams Percussion High School Band Self-Taught

Dana was a percussion gadget freak! If something came along that he thought he could insert tonally into the mix he bought it! As I recall he had a full time job just to support his percussion Jones. He and Joe went to Chicago and bought, literally, a van FULL of drum set , traps and cases. After a day of negotiating a decent price they stopped at restaurant in Chicago to celebrate. They parked in the restaurant parking lot (it was clearly marked) and went inside. After lunch they came out to discover the van was GONE! Panicking they went back into the restaurant and called the police. The police determined the van was towed. When Joe and Dana contacted the towing company they claimed Joe was parked illegally in the parking lot. Even though Joe had his receipt from the restaurant they would not release the truck without paying a $250 "fine". I remember Dana as a quiet, humble sort of guy, always a pleasure to work with and talk to.

Equipment: Dana was a percussion whiz with a passion for unusual drum sounds. I THINK his main kit was made by Pearl but I can't be sure. What I do know is that his kit consisted of (at a minimum) double-Bass Drums, double toms up top, double Roto-Toms up top, two Timbales, three floor toms, snare, tubular bells, a bell tree, at least three cowbells, and triangle tree, blocks, and an extended range of cymbals.

Paul Roe Guitar Professionally Trained

I didn't have much interaction with Paul but remember him as a quiet, serious sort. He was a guitarist in search of his sound. Age-wise he was the youngest of the bunch and I think he felt a little behind the rest. Technically he was a good, solid player but still somewhat immature. He just got better and better!

Equipment: As I recall, and seeing as that was a long time ago :-). Paul played a Gibson Les Paul and used Orange Amps and Cabinets (Mic'ed). I know he occasionally used a couple of pedals but I am not sure what.

Live Sound

Albatross had a very good live sound. As the complexity of the music increased, the need for a more sophisticated system also increased. When I started with Albatross in 1974 they were equipped with a loud but totally inadequate system that consisted of eight Altec Voice of the Theater Speakers, some sort of six channel powered mixer and no monitoring. We eventually went to an Altec 1220 twelve channel mixer and BGW amps in order to increase the flexibility and clarity of the system. It worked but was far from ideal.

When it started to get serious the band purchased an all JBL speaker system that consisted of (as I remember it):

4 - 18" subs

6 - dual 12" cabinets

4 - Mid-range horns

4 - horn tweeters

6 - JBL wedge monitors

2 - Electronic crossovers (4 way)

Amplification BGW (Monsters!) - At least 10 BGW amps of various sizes to power all of the cabinets.

- Mics We stuck with all Shure mics for vocals and on the Bass/Guitar cabinets and with a variety of mics on the drums.

The console was still the Altec 1220 but with four Tapco mixers added for additional inputs and for monitors and sub mixes. That actually worked very well and provided for a wonderful tight and full range sound, plus it was just as loud as we wanted it to be? i.e. terrific dynamic range.

The Story?

Ah, the 70's.... Live music was still king with Disco yet to be seen (but hiding in the wings creeping into the mid-70's from the sides, ready to rear its ugly head). Rock and roll was a broad and diverse genre of the musical universe. Prog rock was dominated by, as is mentioned in most of the reviews, by Yes, King Crimson, Pink Floyd and their contemporaries.

Oddly enough when associated with Albatross I never considered them to be a "Yes Clone". I considered the music fresh and new. Mark Dahlgren, the keyboardist, was the primary composer of the group with Mike Novac the principle lyricist but with all members contributing heavily.

Were there traces and influences of Yes in the music?... CERTAINLY! We were all great fans of Yes, King Crimson, Gentle Giant, the Dixie Dregs, Genesis, et al. Some of the music recorded on the album was written and being performed by Albatross as early as 1971. But, much as musicians throughout history have named certain composers and musicians as their "influences", we did the same with the big names of the genre and the time. As I listen today I can certainly identify with the critics who labeled Albatross as "Yes Clones". At the time we thought new ground was being broken. Keep in mind that the Albatross album preceded the Starcastle release by a full year. (Note: Joe and I saw Starcastle live in 1976 at Rockvalley College... and yes they were a carbon copy of YES. On the other hand... they did sound good live and if you closed your eyes you could swear YES was on the stage during certain tunes!

The ALBATROSS album was produced in an effort to be noticed and to promote the band. It was done as an independent effort (something not easily done at the time) in a studio that was owned by three partners, Joe Guarino, Jim Guarino, and me. We built the studio (Audio-Trak) in 1974 in an effort to bring professional recording to Rockford, Illinois. Rockford was the second largest city in Illinois at the time.... Unfortunately Chicago was sitting only 70 miles away. Living in the shadow of Chicago it was difficult for bands and studios to compete within that market. So with a great deal of effort, not much in the way of market research, and a tremendous amount of hope (and being very naïve) we invested in the studio.

The studio was a piece of art (to us) and we had some of the best equipment of the time:

- Auditronics Son of Thirty-Six Grand Console (24 inputs and outputs!!!) I know that doesn't sound like much by todays high channel count but we were impressed :-)

- MCI (later bought by Sony) 16 track 2" analog recorder (we bought it from Milam Audio in Pekin, Ill. It was the very same recorder, we were told, that Styx had laid the basic tracks for "Lady"!)

- MCI, Scully and Revox two tracks

- DBX and Dolby A noise reduction

- EV Sentry III monitors

- Phase Linear Amps

- UREI compressors

- Allison Research Gates, Compressors and Expanders

- Nakamichi cassette

- Neuman U87 and U47 Mics, Sony C500 Mics, EV Mics, Shure Mics, Byer Ribbons, AKG Mics

- Atlas stands

- AKG Pro Spring Reverb (the thing stood about five feet tall and two feet on each side!)

- Pearl studio drum kit (I think it was Pearl)

- Mason and Hamlin grand piano Note: We modified the piano by filing the hammer pads and soaking them in lacquer to make the sound "brighter" and more defined.

- We even had one of the first digital delay lines. I don't remember the maker of the unit but had an orange face, patch cords to set the delays, a very artificial sound and was VERY EASY to overload (no headroom). It was pretty much useless by today's standards but was fun to play with back in the day?.

- JBL 4311 monitors in the studio for talk-back and playback.

We had everything except customers!

Side Note: The studio was later upgraded to 24 tracks (MCI), a 32 input MCI 532 console and Eventide digital reverb and delay, UREI Monitors (using Altec 501 speakers), BGW amplification, Yamaha mini monitors, and a lot of new outboard gear not to mention a Steinway Grand. Joe and Jim also switched locations two times after I left with each location growing progressively bigger and better! The bigger locations even allowed for natual reverb chambers.

When we brought Albatross into the studio we had only gone through three projects!

The Album - Track-By-Track - Keep in mind this was 38+ years ago and is to the best of my recollection! Any one of the band members may have a completely different take on things.

Side 1:

1. Four Horsemen of the Apocalypse (Mark Dahlgren, Mike Novak)

Yes, this was the big one! Because of the length and complexity we had spent the most time putting this together. It was it turned out to be the most interesting and dynamic piece on the album. It was called the Four Horsemen because there were four distinct movements in the tune. Because of the many layered keyboards and the guitar/keyboard synchronization it took many takes and overdubs. The end featured a huge Chinese gong. The gong sound was from one of Mark's Mellotrons! Live this song was a little less cluttered but actually sounded great!

2. Mr. Natural (Mark Dahlgren, Mike Novak)

OK?. Somebody called this a "throw-away"?. To me Mr. Natural was a fun song. It always went over well in concert because it was an up tempo tune that the crowds liked. A lot of that had to do with Mark Dahlgren's crazy antics with an old man mask and a long extension cable on his ARP pedal. He would don the mask and run into the audience, frightening the girls (truly!) and acting outrageous. When Mr. Natural was recorded some of the live feel and performance antics, of course, were lost. The recording was fairly straight forward with few overdubs.

I was the voice of Mr. Natural. As I remember Mike Novak was in the studio trying voice after voice and not quite getting where we wanted to go. I finally told Joe, "Let me try it!" I went in the vocal booth and laid down about four takes and then when back to the console where Joe and I took the different takes and bumped them over to one of the two track recorders then started layering them on the multi-track at different speeds added reverb and delay and loops until we got the craziness we were looking for. We played a cassette dub of it before any live performance of Mr. Natural thereafter.

Side 2:

1. The Devil's Strumpet (Mark Dahlgren, Mike Novak)

Well, I hated this tune?. To me it was just a hot mess! After a long involved intro using a real pipe organ intro recorded at a local church it just jumped into these strange time signatures and tempos. No matter how many times we tried to record this it always seemed too fast and jerky (to me) with Mike always seeming to race and then lagging on the lyrics. Paul had the same issues with the guitar parts. The band had other tunes that, to me would have worked better here. It took almost as long to record this song as the Four Horsemen.

It was the same in concert and was never well received. As with Mr. Natural we played the pipe organ intro from tape with Dahlgren coming in toward the end with Mellotron Pipe Organ live. I finally got the guys to cut the pipe organ intro down quite a bit and to slow the tempo and it sounded better and played better.

2. Cannot Be Found (Mark Dahlgren, Mike Novak)

Another choice of material I did not understand. Certainly it showcased Mark's piano skills but also showed Mike's less-than-delicate ballad voice and dissed the rest of the band. It was irritating to me but there it stayed! It was easier to record as we recorded Mark's piano then later came back to Mike at a different time. We used our 7' Mason and Hamlin grand studio piano. I keep hearing occasional plays of this on internet stations like Delicious Agony and YouTube. I was talking to Joe just the other day and he did not even remember this tune as being on the album even though he was the only other instrument playing on the tune!

3. Humpback Whales (Mark Dahlgren, Mike Novak)

I really liked this song played live. I was less happy with the studio version. In concert the opening with the synths was essentially the same but Dana would take the lead in with a snare intro. The studio version with the tubular bells and triangle intro was difficult to record (the triangle kept overloading the freaking preamp in the console and we just didn't catch it!) and it seemed rather dis-jointed. At the end the "SAILING!" ending was at my insistence. They had made the decision to take out that live element and use some synth montage thing at the end. When I heard that I just freaked. The continuity of the song was ruined. I raised such a fuss they went back to the in-concert ending but kept the crappy beginning.

While the album was being recorded the band hired a local artist for the jacket art. We formed the independent label, Anvil Records, and registered everything with ASCAP. The tapes were delivered to a mastering facility and then on to the pressing plant.

We were in business!!! The records were carried to every major record store in the Rockford area and passed out to every local record station. As I recall three stores agreed to sell the record and one radio station actually played the album in its entirety.

We always carried a few LP's with us and offered them at gigs. Unfortunately we didn't sell too many.

Albatross went through some changes shortly after the album. They tried costumes (ala Jethro Tull)?. They tried free concerts and the live sound equipment was updated to an incredible array (at the time) of JBL speakers, Altec and Tapco mixers and BGW amps. The lighting system was expanded to professional level; anything to draw some positive attention to themselves.

Meanwhile... The album was not selling. Disco was becoming more popular and live progressive music less popular. And, they were totally overshadowed in the Rockford market by Cheap Trick. (Sidebar - Bun E. Carlos happened to be Mark Dahlgren's cousin) Note: even before the release of their first album Cheap Trick dominated the area club scene through a combination of solid management, an incredible live sound and an absolutely incredible stage presence.

The band was getting absolutely clobbered, ignored and pushed aside.

In an effort to become commercially viable the band went into hiding for eight weeks to re-tool. Even the live sound guy (me) was not allowed in the practice sessions. Coming out of isolation for a gig in Rockford I was informed that they had an entirely new set. They still refused to even give me a song list telling me only that they would start with an original that had been in the line-up since the beginning of the group, a song called "Saturday". "Saturday" was an original rocker that usually worked well with all types of audiences.

To my astonishment the band appeared on stage sans costumes (something that had been poorly implemented anyway!) and proceeded to play. After "Saturday" I was given the play list. I was flabbergasted! There were songs from a variety of artists that included Bob Seger, Queen, the Beatles, other rock acts of the time. Even Gino Vannelli!!! (Note: I have to blame myself for the last?. I had introduced the band to Gino! At least the tunes they played were "Mama Coco" and "Son of a New York Gun"!)

I could not believe my eyes or ears! Mark Dahlgren had even picked up and played a GUITAR! It seemed that the world had turned on end! That dogs and cats would soon be mating and that the lions would lie with the lambs! The only other original song they played that night was "Mr. Natural". To best of my knowledge they never played "The Four Horsemen" again! The only other Prog tune they would still hang on to was "21st Century Schizoid Man" by King Crimson.

I have to admit this sort of format change did bring more gigs and a little more visibility to the band but would also end up being the death of the band as well. This format would continue to be the norm until Albatross disbanded about 18 months after the album was released.

Most of the band members would go on with a band called Blitzen and after a year of so go their separate ways.

Mark (Keys) Would go on to other musical ventures like Puppet. You can actually find a video clip from a Rockford news station posted on YouTube about Puppet :-)

The only other references I could find of Mark were as a sort of community activist still in the Rockford area.

Joe (Bass) Would go on with the studio and then on to establish a very successful live sound touring and sales company. Today, he still resides in the Rockford area and still owns Audio-Trak, runs live sound, and specializes in sales, installation and service of REALLY BIG AV systems. He has expanded into high end home theater design, sales and installation. There are lots of references to Audio-Trak on the web. Dana (Percussion) Would go on to manage a cafeteria. Sorry Dana I lost track after that!

Mike (Vocals) Would go on to other bands, suffer an aneurism, recover and work with a band called the Blues Hawks. Sorry Mike! I lost track after that! There is a picture of Mike on the Blueshawks website.

Paul (Guitar) Sorry Paul! I lost track after the band broke up. I was able to track down at least one pic of Paul performing as a guest with the Blues Hawks. Check the Blueshawks website under "guests" for pictures of Paul.

Me (live sound) I left the band about three months before the reformation into Blitzen for personal reasons. I also had to sell my part of the studio to Joe and Jim because of an ugly divorce. I did stay associated with the studio until 1980 when I moved to Dallas, Texas and returned to my interrupted career in the electronics industry. Over the years I stayed in that industry as a technician or manager of technicians, as a videographer and video editor and IT support and eventually ended up at the University of Texas Southwestern Medical Center as co-director of a disaster medicine/response training program. ( www.ndls.us ). Update: 2016 I retired from UT but continue to manage the disaster medicine gig and well as manage websites for two programs.

Well I know that this was certainly long winded and way more than any of you probably wanted to know! But there it is! Albatross was a great bunch of people and players and had a very good live sound. Each and every one of us, band and grunts alike, wanted it to work. Unfortunately we all had far more optimism and hope than experience or know-how.

If anyone is interested I think Joe still has a few unopened LP's left :-).... (UPDATE! All the albums are gone. I still have my personal beat up copy and Joe still has one of the original master proofs left. It's all out there so if you want a copy you'll have to find it "In The Wild" !

Still Loving the Music,

Tom Lehman

Data cached

Symphonic Prog bands/artists list

Bands/Artists Country
21. PERON Turkey
5BRIDGES Netherlands
7 OCEAN Belarus
ABBHAMA Indonesia
ABSTRACTION LAYER Brazil
ACCENT Romania
ACHE Denmark
ACUITY United States
AD ASTRA United States
ADVENTURE Norway
AETHER Brazil
AFTER CRYING Hungary
AFTER THE FIRE United Kingdom
AGNUS Argentina
AGNUS GRAAL Brazil
AIRLORD New Zealand
AJALON United States
AKACIA United States
ALAMEDA Spain
ALASKA United States
ALBATROSS United States
ALMS Spain
ALPHA CENTAURY France
ALPHA III Brazil
ALTER ECHO Sweden
LEON ALVARADO United States
SERGIO ALVAREZ Argentina
AMAGRAMA Argentina
AMENOPHIS Germany
AMOS KEY Germany
ANABIS Germany
ANCIENT VISION United States
ANDERSON BRUFORD WAKEMAN HOWE United Kingdom
ANDERSON/STOLT Multi-National
ANGE France
ANGIPATCH France
ÄNGLAGÅRD Sweden
ANIMA Argentina
ANIMA DOMINUM Brazil
ANIMA MORTE Sweden
ANIMA MUNDI Cuba
ANOXIE France
ANTARES Germany
ANYONE'S DAUGHTER Germany
APHÉLANDRA France
APHRODITE'S CHILD Greece
APOCALYPSE Brazil
AQUAPLANAGE United Kingdom
ARABESQUE United States
ARACHNOID France
ARCABUZ Spain
ARION Brazil
ARS NOVA (JAP) Japan
ART IN AMERICA United States
ASA DE LUZ Brazil
ASIA MINOR Turkey
ASTRË United States
ASTURCON Spain
ATILA Spain
ATLANTIS PHILHARMONIC United States
ATLAS Sweden
ATMOSPHERA Israel
ATOLL France
AUTUMN United Kingdom
AUTUMN BREEZE Sweden
AVIVA (AVIVA OMNIBUS) Russia
AXCRAFT United States
AZABACHE Spain
BABYLON United States
BACAMARTE Brazil
BANAAU Italy
BANANA Argentina
BANZAI Belgium
ZELJKO BEBEK AND PODIUM Yugoslavia
BEGGARS OPERA United Kingdom
ROBERT BERIAU Canada
ED BERNARD Canada
BLACK SEPTEMBER United States
BLAKULLA Sweden
BLANK MANUSKRIPT Austria
BLEZQI ZATSAZ Brazil
BLUE SHIFT United States
TOMAS BODIN Sweden
BONDAR & WISE United States
BOX OF SHAMANS United States
BRIMSTONE United States
BURNING CANDLE Germany
BUSKER Canada
CAFEINE France
CAI Spain
CAIRO United States
CAJA DE PANDORA Mexico
CAL Spain
CAMEL United Kingdom
LOS CANARIOS Spain
CANNABIS INDIA Germany
ALEX CARPANI BAND Italy
CAST Mexico
CATHEDRAL United States
CELLAR NOISE Italy
CHAKRA United States
CHALCEDONY United Kingdom
CHAOS CODE United States
CHRONOS MUNDI Brazil
JOSÉ CID Portugal
CINEMA Japan
CIRCLE Germany
CIRKUS Canada
CITIZEN CAIN United Kingdom
CLAY GREEN'S POLYSORBATE MASQUERADE BAND United States
CLEARLIGHT France
CODA Netherlands
CÓDICE Mexico
COLLEGIUM MUSICUM Slovakia
COTO EN PEL Spain
COUSINS & CONRAD United Kingdom
COVENANT United States
CRACK Spain
CRAFT United Kingdom
CRESSIDA United Kingdom
CRONICO Mexico
CROOKED MOUTH United Kingdom
CRUCIBLE United States
CRUCIS Argentina
DAWN Switzerland
DEJA-VU Japan
DELUGE GRANDER United States
DIALOGUE (DAWN DIALOGUE) Russia
DIAPASAO Brazil
DISCIPLINE United States
DOGMA Brazil
DORACOR Italy
DOUG WOODS & COLIN POWELL United Kingdom
DR. COENOBITE Netherlands
DRAGONFLY Switzerland
DRAMA France
DRUCKFARBEN Canada
DRUID United Kingdom
EARTH AND FIRE Netherlands
EARTHRISE United States
ECCENTRIC ORBIT United States
ECHOLYN United States
ECLAT / ECLAT DE VERS France
ECLIPSE Brazil
EDEN Canada
EGGROLL Israel
EIK Iceland
ELLESMERE Italy
ELOHIM France
ELOITERON Switzerland
EMERSON LAKE & PALMER United Kingdom
REDJY EMOND Canada
ENGLAND United Kingdom
THE ENID United Kingdom
EPIDAURUS Germany
EPIGNOSIS United States
EPISODE United States
EQUILIBRIO VITAL Venezuela
ESPIRITU Argentina
ESTRUCTURA Venezuela
ETCETERA Denmark
ÉTERNITÉ Canada
ETHOS United States
EVERFRIEND United States
EX-VAGUS France
EXODE France
EXODUS Poland
EZRA WINSTON Italy
FAITHFUL BREATH Germany
FALLING EDGE Canada
FANTASY United Kingdom
FARMHOUSE ODYSSEY United States
FICCION Venezuela
FINCH Netherlands
FIREBALLET United States
FIRST+AID United Kingdom
FLAGSHIP Sweden
FLAME DREAM Switzerland
FLAMING BESS Germany
THE FLOWER KINGS Sweden
FLÜGHT Mexico
FLYTE Belgium
FOCUS Netherlands
FOREVER TWELVE United States
THE FOUNDATION Sweden
FRÁGIL Peru
FRIGHT PIG United States
FROMAGE Japan
FRUUPP Ireland
FUSONIC Netherlands
G.A.L.F. Brazil
GALIE Mexico
GENESIS United Kingdom
GENS DE LA LUNE France
THE GIFT United Kingdom
GLASS United States
GLASS HAMMER United States
GÒTIC Spain
GOVEA Mexico
GRACIOUS United Kingdom
GRANADA Spain
GRAND STAND Sweden
GRANDBELL Brazil
GREENSLADE United Kingdom
GREYFIELD Spain
GROBSCHNITT Germany
SHAUN GUERIN United States
GUILDENSTERN Germany
HALLOWEEN France
HANDS United States
BO HANSSON Sweden
HARLEQUIN MASS United States
HARMONIUM Canada
HECENIA France
HELIOPOLIS United States
ANDERS HELMERSON Brazil
HIGH WHEEL Germany
TERUTSUGU HIRAYAMA Japan
HOGGWASH Ukraine
HOKUS POKUS Norway
LYLE HOLDAHL United States
HOLDING PATTERN United States
HOLY LAMB Latvia
HORIZONT Russia
HYACINTUS Argentina
I.C.U. Germany
III MILÊNIO Brazil
ILVCIA Spain
IN SPE Estonia
INDEX Brazil
INFINITY United States
THE INNER ROAD United Kingdom
INQUIRE Germany
JACK INTVELD United States
INVISIBLE Argentina
ISILDURS BANE Sweden
ISOPODA Belgium
IZZ United States
JELLY FICHE Canada
BJÖRN JOHANSSON Sweden
JORDSJØ Norway
KAIPA Sweden
KAIPA DA CAPO Sweden
KAIZEN Brazil
KALABAN United States
KALO Japan
KANSAS United States
KARDA ESTRA United Kingdom
KARFAGEN Ukraine
KARMAKANIC Sweden
KHATSATURJAN Finland
KING EIDER Netherlands
KLOCKWERK ORANGE Austria
KOGAION Romania
KOTEBEL Spain
KVAZAR Norway
KYRIE ELEISON Austria
LADY LAKE Netherlands
LANVALL Austria
LÁQUESIS Argentina
LAZA I IPE Yugoslavia
LEGACY United States
LEI SECA Brazil
LEITMOTIV Canada
LETHE Netherlands
FRANCIS LICKERISH United Kingdom
LIFE LINE PROJECT Netherlands
LIFT United States
PÄR LINDH AND BJÖRN JOHANSSON Sweden
PÄR LINDH PROJECT Sweden
LITTLE TRAGEDIES Russia
CAILYN LLOYD United States
THE LOAD United States
LOCH NESS Brazil
LORD FLIMNAP Israel
M-OPUS Ireland
DUNCAN MACKAY United Kingdom
MADAME CLAUS Argentina
MADISON DYKE Germany
MAGDALENA Japan
MAGIC PIE Norway
MAGIC SPELL Switzerland
NICK MAGNUS United Kingdom
MAGRATHEA United Kingdom
MAHOUJIN Japan
MAINHORSE Switzerland
MALDOROR France
MANDALABAND United Kingdom
MANDRAKE Japan
MANGROVE Netherlands
MANTICORE Sweden
MANTRA Spain
LA MÁQUINA DE HACER PÁJAROS Argentina
MARCO Mexico
MARYGOLD Italy
MASQUE PREMIERE United States
MAZE OF TIME Sweden
MEDINA AZAHARA Spain
MELVIN'S NOSEHAIR Netherlands
MEMORIANCE France
JACQUES MENACHE Mexico
MERLIN Germany
METABOLISME France
MEZQUITA Spain
MIA Argentina
MIDAS Japan
MIKLAGÅRD Sweden
MIKROMIDAS Norway
MILKWEED Canada
MARIO MILLO Australia
DAVID MINASIAN United States
MIND SKY United States
MINOTAURUS Germany
MIRROR Netherlands
MIZUKAGAMI Japan
MONA LISA France
MONOLITH United States
MOON SAFARI Sweden
MOONGARDEN Italy
MORGAN United Kingdom
MORILD Norway
MORSE CODE Canada
NEAL MORSE United States
TIM MORSE United States
MOSAIK Sweden
MOTH VELLUM United States
MUGEN Japan
JESÚS MUÑOZ FERNÁNDEZ Spain
NAUTILUS Switzerland
IAN NEAL United Kingdom
NEGASPHERE Japan
NESSIE Belgium
NETHERWORLD United States
NEUSCHWANSTEIN Germany
NEVERNESS Spain
THE NEW GROVE PROJECT Sweden
NEXUS Argentina
THE NICE United Kingdom
NOSTRADAMUS Hungary
NOTTURNO CONCERTANTE Italy
NOVALIS Germany
NOVELA Japan
OAKSENHAM Armenia
OCEAN Germany
OCTOPUS (NOR) Norway
ODYSSICE Netherlands
OMNIA Argentina
ONE Argentina
ONIRIS France
OPUS Yugoslavia
ORION France
OUTER LIMITS Japan
PABLO EL ENTERRADOR Argentina
PAGEANT Japan
PALE ACUTE MOON Japan
PANTA RHEI Hungary
PARAGONE United States
PARTHENON Venezuela
PATCHWORK CACOPHONY United Kingdom
PAZZO FANFANO DI MUSICA Japan
PELL MELL Germany
PENTACLE France
OTA PETRINA Czech Republic
PETRUS CASTRUS Portugal
ANTHONY PHILLIPS United Kingdom
PHYLTER Belgium
PI2 Spain
PICTORIAL WAND Norway
PIG FARM ON THE MOON Venezuela
THE PINK MICE Germany
MICHAEL PINNELLA United States
POÇOS & NUVENS Brazil
POLLEN Canada
PRE United States
PRISMA Netherlands
PROGRESSION BY FAILURE France
PROJECT (ALSO KNOWN AS PPRY) Finland
PROTO-KAW United States
PROUD PEASANT United States
PULSAR France
PUPPET SHOW United States
PYTHAGORAS Netherlands
QUANTUM Brazil
QUATERNA REQUIEM (WIERMANN & VOGEL) Brazil
QUILL United States
R-U KAISER Chile
RAIN United Kingdom
RAINBOW THEATRE Australia
RAISON DE PLUS France
RAK Switzerland
REALM/ STEVE VAIL United States
RECORDANDO O VALE DAS MAÇÃS Brazil
REFUGEE United Kingdom
RELAYER United States
RENAISSANCE United Kingdom
RING OF MYTH United States
ROCKAPHONICA Argentina
ROCKET SCIENTISTS United States
RAIMUNDO RODULFO Venezuela
KURT RONGEY United States
ANTON ROOLAART United States
JAIME ROSAS Chile
ANDREW ROUSSAK Russia
ROUSSEAU Germany
RUMBLIN' ORCHESTRA Hungary
RUMPLE STILTZKEN COMUNE Switzerland
SAECULA SAECULORUM Brazil
SAENA Mexico
SAGRADO CORAÇÃO DA TERRA Brazil
SALMON Netherlands
SANDROSE France
GUSTAVO SANTHIAGO Brazil
SCARAMOUCHE Germany
SCHICKE & FÜHRS & FRÖHLING Germany
SEBASTIAN HARDIE Australia
SECOND MOVEMENT Germany
SENSITIVE TO LIGHT France
SEVEN REIZH France
SHADES OF DAWN Germany
SHADOW CIRCUS United States
SHARKMOVE Indonesia
SHINGETSU Japan
SHYLOCK France
SICHER Switzerland
SILVER LINING France
SIMON SAYS Sweden
SINKADUS Sweden
SIRIUS Germany
SIXTY-NINE Germany
SKRYVANIA France
SOCIAL TENSION Japan
SOLARIS Hungary
SOULENGINE Italy
SPHINX Multi-National
SPIN XXI Brazil
SPOCK'S BEARD United States
CHRIS SQUIRE United Kingdom
STARCASTLE United States
STENCIL FOREST United States
STERN-COMBO MEISSEN (STERN MEISSEN) Germany
ROINE STOLT Sweden
STONEHENGE France
SUBLIMINAL Argentina
SUPERNOVA Argentina
SURPRISE United States
SWEDISH FAMILY Sweden
SYNOPSIS France
T-TAURI Netherlands
TABULA RASA Finland
TABULA SMARAGDINA Hungary
TAÏ PHONG France
TANTRA Portugal
TARANTULA Spain
TARKUS Brazil
TAURUS Chile
TAURUS (NETHERLANDS) Netherlands
TEMPUS FUGIT Brazil
O TERÇO Brazil
TERPANDRE France
TERU'S SYMPHONIA Japan
TESIS ARSIS Brazil
THETA Japan
THIRTEEN OF EVERYTHING United States
THRILOS Poland
TIBET Germany
ARMANDO TIRELLI Uruguay
TISARIS Brazil
TOCCATA Mexico
TOMPOX Hungary
TONIC Germany
TRACE Netherlands
TRANSATLANTIC Multi-National
TRAUMHAUS Germany
TREM DO FUTURO Brazil
TRESPASS Germany
TRESPASS Israel
TRIANA Spain
TRILOGY Germany
TRION Netherlands
TRITONUS Germany
TRIUMVIRAT Germany
TRY Germany
ÜNDER LINDEN Argentina
UNIFAUN Sweden
URBAN TRAPEZE Spain
MARIÁN VARGA Slovakia
VERMILION SANDS Japan
VERSAILLES France
VERTICAL ALIGNMENT United States
VESANIA Brazil
VIA LUMINI Brazil
VIA OBSCURA Germany
THE VOYAGER France
RICK WAKEMAN United Kingdom
WALLENSTEIN Germany
WALLY United Kingdom
WELCOME Switzerland
WHITE WILLOW Norway
WILLIAM GRAY Argentina
WILLOWGLASS United Kingdom
WINDCHASE Australia
WOBBLER Norway
X RELIGION Uzbekistan
XII ALFONSO France
XNA United States
YES United Kingdom
YESTERDAYS Romania
ZARAGON Denmark
ZEBULON Germany
ZEN ROCK AND ROLL United States
ZOMBY WOOF Germany
ZOUNDWORKS Netherlands
ZYCLOPE Spain

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