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PROG FOLK

A Progressive Rock Sub-genre


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Prog Folk definition

In the wake of the 60's, a Folk revival started on both sides of the Atlantic, and got quickly linked with a protest movement, not always, but often linked to more left-wing tendencies, which did not sit well with the authorities. BOB DYLAN, JOAN BAEZ, WOODY GUTHRIE, JOHN DENVER, BUFFY STE-MARIE, but also the FARINA couple Richard and Mimi for the US and SHIRLEY COLLINS and EWAN McCOLL (mentor of BERT JANSCH, JOHN RENBOURN ) for the UK and HUGUES AUFRAY in France. In Quebec, there was the "Chansoniers" phenomenon among which CLAUDE LEVEILLE and FELIX LECLERC were the most popular, waking up the sleepy "Belle Province" and stand up for itself from the English rule. The English part of Canada also brought up JONI MITCHELL, LEONARD COHEN (although he was from Montreal) and NEIL YOUNG.

As DYLAN turned electric with his Highway 61 Revisited album, much to the dislike of purists who yelled for treason, Folk Rock was born, opening the floodgates for younger artists to turn on the electricity. As DYLAN soon abandoned to style to create Country Rock with his next album, his British equivalent Scotsman DONOVAN stayed true to Folk Rock. In the US, THE BYRDS were the main promoters of the style by now, culminating with the superb "Eight Miles High" track with a lengthy (for the times) guitar solo of almost one minute. But countless other bands on the west coast, such as LOVE, JEFFERSON AIRPLANE (and later its spin-off HOT TUNA), GRATEFUL DEAD, QUICKSILVER MESSENGER SERVICE, PEARLS BEFORE SWINE, and TIM BUCKLEY all started in the folk rock realm. Even San Fran's SANTANA with its Latino traditional music and, on the east coast, NY's THE LOVING SPOONFUL had folk roots. Notwithstanding the immense popularity of SIMON & GARFUNKEL and their delicious harmonies, Folk Rock was appealing only to the rock public as the older generations turned their backs in folkies.

In the UK, following on their countrymen DONOVAN, many Scotsmen were very influent in exploring new grounds for folk rock: INCREDIBLE STRING BAND (led by Scots Palmer and Williamson) with their two highly influential albums "5000 Layers Or The Spirit Of The Onion" & "The Hangman's Beautiful Daughter" and THE PENTANGLE (led by other Scots Renbourn, Jansch and McShee and their superb bassist Danny Thompson) and its incredible fusion of folk, blues and jazz style were very instrumental in developing the style to the same extent as FAIRPORT CONVENTION and THE STRAWBS who by that time were still more conventional US "west-coast folk rock". The single artistes in folk rock became known as Folk Troubadours were also numerous and often presented a more progressive side of folk: AL STEWART, NICK DRAKE, ROY HARPER, TYRANOSAURUS REX (actually a duo of Steven Took and Marc Bolan) , JOHN MARTYN etc.

However, the real angular album that will lead to further change of Folk Rock is FAIRPORT CONVENTION's "Liege & Lief" album, that proved to be highly influential for another generation of groups: this album concentrated into electrifying seminal English traditional folk and retained that quaint Englishness taste. It is interesting to see that both leaders of FAIRPORT quit the band after this success to go their respective way: Sandy Denny to a solo folk songwriting career and Ashley Hutchings to a very traditional folk rock. By this time, most connoisseur were talking of Acid Folk, Psych Folk, and Progressive Folk, all having limited differences and no particularly drawn-out limits or boundaries, but all relying on experimental or groundbreaking adventures and good musicianship but not necessarily of an acoustic nature.

Groups like THE THIRD EAR BAND and QUINTESSENCE relied on eastern Indian music influences and, sometimes, medieval tones. Other groups like the weird COMUS, THE TREES, SPIROGYRA, FOREST, the superb JAN DUKES DE GREY (all listed in the ProgArchives) but also TRADER HORNE, TUDOR LODGE, FOTHERINGAY, MAGNA CARTA, TIR NA NOG (all of whom could also be in the ProgArchives) were out to break new ground but with less commercial success as their predecessor. By 1972, all of the glorious precursors bands were selling fewer records and had problems renewing themselves and a newer generation of groups was relying in a more Celtic jigs or really traditional sounds. Such as HORSLIPS, DANDO SHAFT, STEELEYE SPAN, AMAZING BLONDEL, ALBION DANCE BAND and SPRIGUNS OF TOLGUS. Although JETHRO TULL had some definitive folk roots right from the start, their only albums that can be regarded as Prog Folk are 77's Songs From The Woods and 78's Heavy Horses. Ian Anderson (another Scots) was very keen in acoustical traditional songs. Some Folk Troubadours such as TIM BUCKLEY and JOHN MARTYN started turning records more and more axed towards fusing jazz and folk (a bit in what THE PENTANGLE were doing) , others became more and more electric and they started to be referred to as Singer Songwriters especially those with country rock influences.

In Germany, HOELDERLIN (and their fantastic debut album), EMTIDI, OUGENWEIDE, CAROL OF HARVEST, WITTHEUSER & WESTRUPP were exploring German folk while KALACAKRA , SILOAH and EMBRYO were indulging with Indian music. In South America, most notably in Chile, LOS JAIVAS (very bent upon Andean Indian music) and EL CONGRESSO (more Spanish-Latino folklore) were using folk in their rock, so much that some press talked about them referring it with the hateful term Inca Rock. In Quebec, the progressive movement exploded with the cultural identity and the Chansoniers tradition and this was carried out with LES SEGUIN and HARMONIUM and so many more. In France, many groups were out for folk rock such as RIBEIRO ALPS, TANGERINE, and ASGARD. In Spain, Flamenco playing a dominant role as well as Basque folk, TRIANA, ITOIZ and HAIZEA were the head of the movement once the Franco regime fell apart after his death.


There is also a very important medieval music influences dimension in some groups as the term Medieval Folk was also mentioned for a while but apparently dropped by musicologists. Among the UK groups are obviously GRYPHON, GENTLE GIANT and THIRD EAR BAND, in France: MALICORNE and RIPAILLE and in Scandinavia: ALGARNAS TRADGARD and FOLQUE.


Hugues Chantraine

Current Team as of January 1, 2015

Bob Moore aka ClemofNazareth
Ken Levine aka Kenethlevine
Sean Trane

Prog Folk Top Albums


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

4.63 | 2920 ratings
THICK AS A BRICK
Jethro Tull
4.34 | 2268 ratings
AQUALUNG
Jethro Tull
4.18 | 1235 ratings
SONGS FROM THE WOOD
Jethro Tull
4.21 | 277 ratings
ALTURAS DE MACHU PICCHU
Jaivas, Los
4.14 | 471 ratings
FIRST UTTERANCE
Comus
4.13 | 533 ratings
RED QUEEN TO GRYPHON THREE
Gryphon
4.35 | 65 ratings
ERWARTUNG
Eden
4.15 | 273 ratings
HERO AND HEROINE
Strawbs
4.18 | 187 ratings
MICE AND RATS IN THE LOFT
Jan Dukes De Grey
4.15 | 281 ratings
GRAVE NEW WORLD
Strawbs
4.18 | 170 ratings
ST. RADIGUNDS
Spirogyra
4.43 | 37 ratings
LUCAS
Araujo, Marco Antonio
4.04 | 1078 ratings
STAND UP
Jethro Tull
4.07 | 263 ratings
THE HAZARDS OF LOVE
Decemberists, The
4.14 | 115 ratings
BELLS, BOOTS AND SHAMBLES
Spirogyra
4.03 | 1006 ratings
HEAVY HORSES
Jethro Tull
4.15 | 103 ratings
BASKET OF LIGHT
Pentangle, The
4.02 | 1046 ratings
MINSTREL IN THE GALLERY
Jethro Tull
4.02 | 1277 ratings
A PASSION PLAY
Jethro Tull
4.13 | 105 ratings
EZEKIEL
Itoiz

Prog Folk overlooked and obscure gems albums new


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

ODGIPIG
Sindelfingen
VALHEISTA KAUNEIN
Scarlet Thread
AMETSAREN BIDEA
Errobi
II
Espers

Latest Prog Folk Music Reviews


 The Incredible String Band by INCREDIBLE STRING BAND, THE album cover Studio Album, 1966
3.25 | 22 ratings

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The Incredible String Band
The Incredible String Band Prog Folk

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

4 stars One of the true pioneers in the British psychedelic folk scene was THE INCREDIBLE STRING BAND that developed from a mutual interest of folk music between the two founding members Robin Williamson and Clive Palmer in Edinburgh, Scotland in 1963. After a couple of years playing as a duo they met Mike Heron in 65 and quickly gelled into their new group and got snatched up by Transatlantic Records. Right from the start the trio were catching the attention of even big stars like Bob Dylan with their unique take on the mix of English folk, Woodie Guthrie styled narrations and local Scottish influences. While the band would expand on the second slicker album "The 5000 Spirits Or The Layers Of The Onion" and beyond, this eponymous debut is the only album to feature the original founding trio as Clive Palmer would soon take a sojourn to India and opt not to reunite with the others as they were becoming more and more successful.

As only a trio, the music is much more roots oriented on album number one and not nearly as psychedelic and experimental as what would soon blossom as the band got more comfortable expanding beyond their influences. Despite a mere threesome, this album has a wealth of instrumentation as the musicians were all very skilled and comfortable on many a noise making devices. It's a fairly diverse sounding album as there are many styles, tempos, dynamics and all three members shared lead vocal duties. Mike Heron played guitar only but Clive Palmer contributes not only guitar but banjo and kazoo. After leaving the group he would record a banjo based album ("Banjoland" in 67) that wouldn't be released until 2005. Robin Williamson also plays guitar but also fiddle, violin mandolin and tin whistle. The instruments appear on different songs and create an interesting contrast between styles.

While the psych crowds may find this one a tad ho hum, as a straight forward folk album with a diverse palette of influences, album number one is actually a very pleasant listen with catchy acoustic folk songs jumping all around the folk spectrum with an authentic roots music feel with nice narrative lyrics about everyday life but the flirtations with the psychedelic scene were taking root at this stage with the inclusion of a surreal tale of a magic blackbird and accompanying unconventional vocal styles and mixings of sounds. The album found two different album covers for the UK and US and wasn't particularly successful. While a few tunes were traditionals, the majority of tunes were written by the three members. After this debut album the band would officially split up but Williamson and Heron would reform the band add a few more members and seriously up the sophistication of the style and progressiveness. While this debut can't really compete with the albums that follow, THE INCREDIBLE STRING BAND is a fine debut release that shows the band's transition from pure roots to create mixings of those styles.

3.5 rounded up

 In a Lifetime by CLANNAD album cover Singles/EPs/Fan Club/Promo, 1985
3.00 | 1 ratings

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In a Lifetime
Clannad Prog Folk

Review by Matti
Prog Reviewer

— First review of this album —
3 stars The Irish Clannad was pretty popular in the eighties, and the album Macalla (1985) was, I believe, their biggest success. Today it seems to be the best known, and widely appreciated also. This single contains two songs from that album. 'In a Lifetime' is a duet with Bono (U2). From time to time one can still hear it on the radio, for it is a very beautiful and well done pop ballad, no doubt about that. Of course to some it may be syrupy, but I enjoy it. It has a melancholic and dreamy atmosphere, and Bono is a great choice to accompany Moira Brennan's ethereal vocals, there's a lot of passion in his performance.

'Indoor' is a more straight-forward pop song, a good example of the hollow (over-) production that Clannad were sometimes guilty of. Even though it's not really bad, apart from some phoney sax perhaps, I think it's clearly among the least interesting tracks on Macalla. It has cultivated time signatures and could have been much better than it is, with another kind of production. But anyway 'In a lifetime' is a pop classic of its time that deserves three stars.

 Sight Of Day by MOSTLY AUTUMN album cover Studio Album, 2017
4.08 | 50 ratings

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Sight Of Day
Mostly Autumn Prog Folk

Review by tszirmay
Special Collaborator Crossover Team

5 stars 'Dressed in Voices' was the long awaited return to form for the British prog-folk band Mostly Autumn, a fact that was recognized be all critics and fans and in order to further consolidate their position, the follow up 'Sight of Day' keeps the eye on the progressive prize. Lead singer Olivia Sparnenn-Josh is once again given a strong melodic platform to show off her considerable range and powerhouse delivery. She just may be the current prima donna (in the positive sense) of prog, at least in my humble opinion. This solid crew has been together for quite a while now and they seemed to have found their calling once again, focusing on crushingly attractive melodies sprinkled by some spectacular instrumental soloing from the fabulous guitar of Bryan Josh and Iain Jennings' ornate keyboard wizardry. The tight rhythm section of Andy Smith and Alex Cromarty act as the perfect motor for the band to pull of some masterful arrangements and thus create vivid, entertaining music of the highest order. Chris Johnson is the perfect rhythmic guitarist for Josh, liberating his gun-slinging technique with soaring, gliding solos that pierce the clouds.

The title track opens up the velvety curtains with a rather incredible 14 minute epic masterpiece that encapsulates the real essence of MA, a heady mixture of romantic and bombastic zeal that dives into exciting melodicism and bold instrumental play. Iain Jennings lovely piano introduces a dignified and confident vibe, setting the melancholic tone for a spiral of delicious sounds, seamless shifts and crazed soloing. Needless to say, Olivia sings like the wind, gently powerful when needed and utterly expressive.

Maintaining a luminous disposition ,'Once Around the Sun' offers quite a shimmering bombastic touch, with a Bryan Josh that winks at classic Roger Daltry (Who?). The melody has a little native Indian beat to it, a trait that will surface later in the track list, the organ in particular shining bright. Powerfully simple, immediately catchy and cool. 'Take care of yourself', he said.

The short but crushingly beautiful 'The Man without a Name' has Olivia showing her unbelievable voice, crystal clear and precise, vocal perfection in both delicacy and power. She has an almost Sarah Brightman tinge, a compliment of the highest order, I can assure you. Stripped down and pure, quite a gem to behold, with mostly piano as an escorting vessel.

What I find particularly appealing is their treatment of conventional structured songs, which they mould into something very much in their image, like the bluesy rocker 'Hammerdown', a raucous and fervent cry in the dark, that has classic rock stamped all over it, loaded with perspiration and muscle. Bryan Josh's voice crackles with emotion and his soaring guitar follows suite, screeching high and mighty like only he can.

Displaying incredible variety, the Chris Johnson-sung, produced and penned 'Changing Lives' surprises by fitting nicely within the overall framework , yet completely different from the other tracks here, a modern soft rocker that sizzles unashamedly, coming together as one, male and female voices in harmonious communion. Jennings' raging Hammond organ shudders violently as the overwrought guitars howl to the moon. Massive and feisty, 'Only the Brave' has wave upon wave of windswept bombast that incorporate some of Troy Donockley pipes and whistles. Early Mostly Autumn initially focused on strong folk roots, inserting a pastoral feel as well as eclectic instruments into their compositions and it's great to see that gift being added to a rather bruising and athletic rock track. 'Viking water, gods of thunder'.

Contrast that with another epic highlight track, a brooding and extreme splurge of sound, reliving native Indian lore, both in the instrumental envelope as well as lyrically. Bryan's focus on Canada is quite a stirring revelation, as my country certainly has the vast lands, 'mountains, trees and bright moons'. 'Native Spirit' is a fascinating track, replete with sweeping and dark orchestrations that keep the rhythmic thunder in check, a brilliant performance from Cromarty, pummeling like a feathered warrior on the war path. Both Josh's guitar and voice go way beyond the horizon, deep and trembling into the moonlit night.

Iain Jennings is quite the keyboardist, orchestrating modern swaths of sound in a most symphonic style as he did rather vividly once on 'Distant Train' off the Passengers album, so it comes as no surprise that 'Tomorrow Dies' is heavily clad in dense arrangements that highlight Olivia's authoritative vocal. Man, can this woman sing, or what? I still have goosebumps listening to this blurting yelp for salvation. Thrilling, expansive, shimmering and glittering. One of MA finest pieces ever.

Josh is a bad man, as he follows up with two more absolute killer tracks to finish off slaying my pleasure. 'Rain Down' hushes the deepest sentiments, violins in tow, evoking the majesty of Mother Nature's cleanse, both a torrent of rejuvenation and a cascade of satiation. Angels waiting to towel down the tired soul, momentarily drenched in emotional comfort. This track is so poignant, intensely vivid and heartfelt, a sheer joy to behold. Surely a concert highlight, perhaps even encore material.

Closing the book on this 73 minute extravaganza, 'Forever and Beyond' is simplicity incarnate, featuring a radiant and truthful ode to life and all its tribulations, bathed in a pastoral and folky setting. Perhaps hearkening back to their first album , 1999's 'For All We Shared', a time of rebellious discovery and artistic expression, this passionate vocal duet between husband and wife, soon to be father and mother, is as exhilaratingly personal as it gets and we are all blessed to be witnesses to all this impending joy. The feel is upbeat, smiling right and incredibly positive.

We all need music like this in today's screwed up world. Panacea, genuine art, passion-fueled music of the highest order, something anyone with a pumping heart can understand and ultimately feel inside of themselves. This Mostly Autumn ship will keep on flying'.

5 Visions of Time

 Thick As A Brick by JETHRO TULL album cover Studio Album, 1972
4.63 | 2920 ratings

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Thick As A Brick
Jethro Tull Prog Folk

Review by Lupton

5 stars Jethro Tull's follow up to Aqualung was their first truly progressive rock album and a concept one at that. Aqualung had its progressive elements and even a loose concept per side but this time Ian Anderson and Co went the whole hog and produced what in effect was a single continuous piece of music.

Technically this album is a major achievement for the band and is far superior to their previous efforts.The album starts off quite gently with the famous acoustic introduction (the single "edit" that graces virtually every Jethro Tull compilation) before suddenly exploding into action at the three minute mark with Martin Barre's huge stabbing chords interspersed with Ian Anderson's forceful acoustic guitar strumming. It reminds me slightly of the way the band comes crashing in near the beginning of My God off the Aqualung album.

What follows is close to twenty minutes of some of the most dynamic playing ever committed to vinyl . The ever changing rhythm and tempo changes along with the interplay between Martin Barre's spirited electric guitar and Ian Anderson's flute riffing is quite exhilarating. The whole enterprise is held together by John Evan's Hammond organ.One of my favorite sections is his jaunty solo that introduces a new musical theme where Ian Anderson sings "I've come down from the upper class...".Interestingly, that theme (edit#4) is included on the Repeat Best of Volume 2 compilation. Even out of context as with the familiar introductory edit works surprisingly well as a stand alone piece of music.

Side 2 basically carries on where Side 1 left off. Original themes are reprised and a couple of new ones are introduced at the four minute mark. Overall the second side is similarly dynamic but less melodic and somewhat downbeat in comparison to the first side. There are also a few jarring moments where the band seem to enter into King Crimson free jazz territory at the three minute mark which really does not suit their style. While ultimately less memorable the second side at least ends on familiar turf with the reprise of the original theme which helps bring the whole affair to a logical conclusion.

What really stands out for me as much as the composition is the overall production . The band were really tight and the sound really gelled when they recorded this album especially with new recruit Barriemore Barlow on drums and percussion and the use of Hammond organ instead of the somewhat antiquated piano helps give the music a slicker dynamic. Thick As A Brick is one of Progressive Rock's crowning glories.

 To Keep From Crying by COMUS album cover Studio Album, 1974
2.78 | 87 ratings

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To Keep From Crying
Comus Prog Folk

Review by Logan
Forum & Site Admin Group Forum Moderator

3 stars To Keep From Crying might just be the antidote some of you need from the dirtiness you feel from having listened to "Drip Drip".

If I were the tearful type, I'd say that all the disdain this album gets has barely kept me from crying. I wish more people would join the light side of Comus while still appreciating the dark side. Not only do I think that this album does not get enough respect from those who love First Utterance, but I wish that it got more attention from those who hate Comus based on the rather dark and disturbing, pagan themed conceptual album called First Utterance.

To Keep From Crying is a fun and I think dynamic album that I have recommended to various people who loathe Comus because of First Utterance, and while none of my attempts have so far worked, you can't Keep me From Trying. It's not necessarily that I think that they will like this album, but I want to show people that there is another gentler and happier side to the group. I hear Comus called by people who are not referring to the first album specifically but to the group generally, disturbing, gross, vile, soul destroying and gut wrenching. Generally these people have no familiarity with To Keep From Crying and so it doesn't even factor into their views of the band -- it's like the album doesn't even exist since it's so overshadowed by its sinister older sibling. But beyond that, I look at First Utterance in much the same way as watching a horror film or reading a horror novel.

First Utterance has a concept, and a creepy one at that. I think some who could easily take watching a film that has such themes and would not assume that the filmmaker is someone who condones brutal behavior have a harder time with music that deals with the same subject matter. Like lyrics are supposed to be authentic and heartfelt and not fictitious or something. Just because one writes about defiling a virgin in song, poem, novel or film does not mean that one condones the act, nor does listening to it or reading it mean that you condone it. And just because you tell a pagan story does not necessarily make you a pagan -- I mention this because some religious people are offended by it, and think it's Satanism. Sure, some might say that you're sick for being entertained by it or writing about it, but that's another angle. Incidentally, I think that the film The Wicker Man with its pagan themes works well with First Utterance (and I recommend the soundtrack to folk lovers who love pastoral music with creepy undertones). And no, I have not forgotten that I'm here to talk about To Keep From Crying, but it is hard not to compare it to First Utterance, and for me too when I first heard To Keep From Crying I couldn't help but compare it to the debut, and while I was pleasantly surprised by To keep From Crying because I had low expectations, it did seem on the whole a poor follow-up album. It's over the years that I've come to rate To keep From Crying much more highly and think that it's a very good album in its own right.

So... some are highly critical of the band Comus based solely on First Utterance, while others are highly critical of To Keep From Crying based on their love of First Utterance. Comus is losing out either way. I think each is very good in its own way, and in the ways that they overlap since despite the differences, both albums have musical similarities.

Like the earlier Comus album, this album also has plenty of beauty and a level of eccentricity. Like with F.U. the vocals on To Keep from Crying will grate with some at times. Yes, this is not the acid folk masterpiece that First Utterance is, the direction has changed, but there's still plenty to love in this album. Some of the music on this album would not be musically out of place on F.U. To Keep From Crying is not a harrowing experience, nothing wrong with up-beat, and there is much for varied tastes to enjoy.

From the moment I heard this album I thought the songs "Children of the Universe" and "To Keep From Crying" absolutely terrific which mix beautiful folk with an electrifying rock dynamic, and have fabulous build-ups. Five star songs. Wonderful! I also loved "Touch Down", "Waves and Caves", and the bluesy "Get Yourself a Man" is for me a real treat. That's already most of the album, but I didn't like the rest of the album much. As the years passed I found that I really like the whole album, and I appreciate the contrasts in the album. There's more going on in this album than you might notice at first -- it's not some lame slice of commercial pap, though it is more commercial than F.U. It is a different beast. The To Keep From Crying beast wants to be played, cause to not play it would make it sad, but doesn't want to play, play, play with you in a most bestial manner.

For those that hear this album slagged by fans of First Utterance, and those that automatically dismiss Comus because of some songs on First Utterance (shame on those who can't appreciate the pastoral and rather creepy beauty of "The Herald" at least ;) ), please give the To keep From Crying album a chance before you judge the album based on what you've heard or before you judge the band harshly overall due to thematic perceptions.

I actually have this album on Song to Comus, and appreciate it even more there for how it contrasts with the music of First Utterance -- dark versus light. For those that don't have this or First Utterance, If you can get your hands on Song to Comus, that is better than getting this alone. The bonus tracks on that album alone are stunning, and you don't know Comus until you've heard "Winter is a Coloured Bird" and "All the Colours of Darkness".

The music on this album is utterly essential to my music collection, and I return to it very frequently. It's also one of those albums that I don't want to end, partially because it ends so wonderfully with the song "To Keep From Crying".

I rated it four originally, but am dropping that rating to three simply because I doubt that most here will feel the same way that I do about this album even if they do give it a chance.

 New Faces by HOELDERLIN album cover Studio Album, 1979
3.41 | 23 ratings

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New Faces
Hoelderlin Prog Folk

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

3 stars Seventies German band Hoelderlin have an interesting history. The initial line-up was responsible for one of the seminal prog/acid-folk works `Hölderlins Traum' in 1972, and a reworked version delivered three superb English language symphonic works and a live album in the three short years covering 1975-78, but it as was at that point that several founding members departed the group. Keyboardist Joachim von Grumbkow and bassist Hans Bäär recruited several new musicians and took the Hoelderlin name in a more streamlined commercial rock direction here with elements of jazz and funk, and taken on its own merits, 1979's `New Faces' is quite a nice crossover mix of accessible rock that has plenty of touches of a Camel-like sound in parts, and it still finds time for a few instrumental pieces.

The addictive `Somebody's Callin' is a chugging groovy opener full of propulsive momentum due to both Hans Bäär's relentless and unceasing thick murmuring bass and the constant powerful driving beat from new drummer Eduard Schicke of the sublime symphonic group Schicke Führs & Fröhling. Tommy L'Ohr offers a reliable vocal, but more importantly his and Rüdiger Elze's guitars smoulder and wail through the entire track, delivering protracted soloing in the final minutes. The supremely likable `I Want You' is a peppy and unashamedly cheerful AOR rocker with nice ringing twin guitar melodies, and damned if the sun-kissed chorus wasn't blessed on high by the gods of pop! `Cold Winds' is a tasteful low-key shimmering electric piano ballad with a humble vocal from Christoph Noppeney off Hoelderlin's `Rare Birds', and despite a slightly pained lead vocal from Tommy, `Gentle Push' instantly calls to mind mid-Seventies onwards Camel with its silken rising guitar soloing, plus the warm repeating group vocal refrain is very pleasing.

But fear not, prog-freaks, side two's `High In Shanghai' delivers the first of two instrumentals, with this undemanding yet interesting six-minute one having a dreamy ambient intro, twitchy electronics and electrifying twin electric guitar themes with more dramatic bursts making it really not too far removed from what Camel would do on both `I Can See Your House From Here' and `Nude'. `The Shouter' is a soft pop piece with a gentle acoustic guitar melody that faintly calls to mind moments of Peter Gabriel's `Solisbury Hill', and `Footsteps' is a cute and harmless romantic popper with sweetly accented singing, chiming guitars and Camel-like breezy synth trills that is very easy to fall for, with a quietly ambitious and exotic middle instrumental passage. Closer `Weekend' also reminds of that same band again and manages to cram a lot into not even three minutes with its upbeat and victorious nimble guitar heroics and wisping keyboards.

Yes, there's a slightly dorky quality here and there, some of the vocals are a little unlovable and for many prog-snobs this is going to be far too straight-forward, but it's a hugely charming and undemanding disc, and one definitely recommended for fans of Camel's `Breathless' through to `Nude' period. Sigh...if only all commercial/lite-prog/AOR albums where as successful and enjoyable as this one is!

Three and a half stars (but personally it's a four!)

 Sorcerers by JAN DUKES DE GREY album cover Studio Album, 1970
3.78 | 44 ratings

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Sorcerers
Jan Dukes De Grey Prog Folk

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

4 stars Having met via an 11-piece 60s soul band called Buster Summer Express in Leeds, England in 1968, the duo of Derek Noy and Michael Bairstow found that they shared a similar musical adventurousness and as Noy, then only 21 was setting out to find his own way after leaving the band, he crossed paths with Barstow who was auditioning for the band at the tender age of 18. Together they would become renowned for their nonesuch classic release 'Mice And Rats In The Loft,' an album so outside of the norms of the contemporary folk scene that the only other musical entity of the time that could be of equal comparison would be the similarly demented English act Comus. The duo's reputation of being one of the most original acts around caught on quickly as they gigged many venues and led to a signing with Decca Records which landed them an early touring with Pink Floyd and The Who. The duo successfully recorded their first album SORCERERS by October, 69 and released it early on in 1970 which caught them immediate attention on the university campuses although high sales and success eluded them.

While the progressive behemoth 'Mice And Rats In The Loft' syphons away every bit of attention away from this early beginning, it would be a great mistake to overlook this unique debut album from the oddly named JAN DUKES DE GREY which was a spontaneous impromptu appellation designed to sound esoteric but in reality carries no actually meaning behind it at all. SORCERERS is the exact opposite of their following paragon of progressive folk. While 'Mice' had three sprawling tracks that swallowed up the entire album allowing ample time for excursions into the most lysergic experimentation of any folk album in history, SORCERERS on the other hand is a collection of 18 tracks that hover around the three minute mark with only a couple even breaking over four. Despite performing as a mere duo with only a couple extras providing a few extra sound effects, JAN DUKE DE GREY sounds like a full band as Bairstow weaves his musical magic on clarinet, flute, tenor sax, bongos, congas and various other percussion as well as lending his vocal harmonic counterpoints. Noy on the other hand handled all the guitars, bass, celesta, piano, more percussion as well as being the other vocal half that belted out the most confident lyrical tales.

If the sheer amount of instrumentation on board isn't impressive enough, so too are the musical influences creeping in at every corner. While the main sources of inspiration at this early stage reside in bands like T. Rex and The Incredible String Band, Noy and Bairstow were far too talented to simply copy their idols and employ a range of extracurricular musical ideas that mix and meld confidently including Donovan inspired psychedelic flute patterns, classical and flamenco guitar as well as the rich melodic tradition of English folk music. Every single track on SORCERERS distinguishes itself from the next conveying everything from dark and sinister moods on tracks like 'MSS' to the more benign little joys of life as heard on tracks like 'Butterfly.' While some are more straight forward melodic developments like the rich melody heard on 'High Priced Room,' some such as 'Cheering Crowd' have a bombastic progressive time signature barrage of off-kilter guitar riffs that give a glimpse to where the music would lead them.

For me, SORCERERS is an instant classic and addictive on every level as the instrumentation is delicately forceful while the melodic harmonic lyrical prose delivers a totally new style of the era that somewhat reminds me of what Gnidrolog would advance a few years later. Also unusual for the day was the use of a heavy percussive drive adding tribal elements to melodic folk guitar which can range from the usual contemporary acts as heard from Bob Dylan and Phil Ochs to the more unusually experimentally psychedelic as heard on 'Yorkshire Indian Sitting In The Sun' with adventurous classical riffing with glissando guitar slides. Also experienced on SORCERERS is a variety of ethnic influences experienced by the Indo-raga sounding percussion to the mondo exotica oriental touch in 'Turkish Time.' SORCERERS should not be overlooked in the least and is a majorly satisfying counterpart to the one two punch that JAN DUKES DE GREY conjured up in a short timespan before disappearing into the musical ethers and allowing their acid folk creations to simmer for vast oceans of time before finally emerging as buried treasures several decades later. While the progressive compositions are nearly nonexistent at this stage, the experimental features are firing on full pistons and i cannot think of any acid folk album released before that is as unique and all-encompassing in scope as SORCERERS.

 Pink Floyd Revisited by MOSTLY AUTUMN album cover DVD/Video, 2005
3.00 | 22 ratings

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Pink Floyd Revisited
Mostly Autumn Prog Folk

Review by Tarcisio Moura
Prog Reviewer

5 stars I have to say I was appalled by the low ratings this DVD got (at least the first ones), since I have always loved Pink Floyd Revisited (OK, I got it: the title is really unfortunate, to say the least!, and misleading). In fact, when I bought it I was delighted because the band was obviously inspired by PF and the covers they played were very good ones, specially that they chose some more obscure tunes and decided to cover one of my fave PF songs, Echoes. Not too many bands have the guts to do this one and get away with it. In fact, I don´t know any other who indeed played this one in full. And remember, I am a big Floyd fan.

The second disc is Mostly Autumn doing what they do best: their own original songs. And both the quality of the material and the performances are also very high. So I had nothing to complain about this DVD. In fact, I wish they played more PF songs. They were respectful to their idols and showed they also had their own stuff to set aside any "cover band" label that some could bear on them. It was a tribute, from an excellent band to a legendary one.

A fine show that I wish I was there to watch it personally. I´m glad they recorded it for posterity. For me is a classic performance.

 Sight Of Day by MOSTLY AUTUMN album cover Studio Album, 2017
4.08 | 50 ratings

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Sight Of Day
Mostly Autumn Prog Folk

Review by lazland
Prog Reviewer

4 stars Sight of Day is Mostly Autumn's twelfth studio album. There is a massive contrast between this and the superb predecessor album, Dressed in Voices. Bryan Josh himself describes this as an "album of light", whilst Dressed....was as dark as a black hole. When reviewing that album, I posited that it might act as a springboard to greater commercial success, because this is surely well deserved. I fear this might never come about, but, as a prog cottage industry, they seem to keep coming up with excellent product, adored by a loyal fan base, and there are worse positions to be in, I suppose.

This album is more of a traditional Autumn work, blending effortlessly pomp prog, lilting guitar bursts, with that folk backdrop which led me to fall in love with their work way back when I first clapped ears on The Last Bright Light. It is far too simplistic to describe the band as a Floyd influenced vehicle. Of course, this is there, but there is so much more to them than that. For a start, the beautiful violin of Anne Phoebe, and deep flute of Angela Gordon, backing a sublime vocal on the exceptional ballad, Raindown, before giving way to a huge Josh guitar solo supported by sumptuous keyboard work, is simply Mostly Autumn at their unique best. There is no other band capable of this track, and the wonder of it all echoes in your mind long after the track finishes.

The title track is the opener, a 14 minute plus epic which simply lifts the spirit. The sound is epic, and Josh produces a soaring mid section solo. This gives way to the type of thoughtful acoustic folk prog they have always excelled at, with a knowing nod to Autumns Past, before concluding with such a joyous and raucous celebration of life and sound. Bryan's wife, Olivia Sparnenn-Josh, is now such an integral part of the band that it is becoming difficult to remember when she wasn't there. Her voice on this, and everywhere else, delights at every turn, and my best wishes to the pair of them for the impending birth of the first Josh Junior.

What Olivia demonstrates here is just what a marvellous range of vocal techniques she has. From the sheer front on pomp of the opener, with vocal and guitar jousting between the two, we are treated to a fragility on the thoughtful, and questioning, The Man Without A Name, a track which features a deceptively simple piano lead and background keys and rhythm guitar. A joy, and a highlight of the album.

However, to treat this as merely the Josh family vehicle would be a mistake. There have been many lineup changes over the years, but Josh has always surrounded himself with quality contributors, and a very pleasant surprise on this album was to hear a written and performed track, Changing Lives, by the returning Chris Johnson. A damned fine track it is, too, with the male/female vocal interplay after "come together" being particularly pleasing. Johnson, by the way, also gets a production credit on this.

I have always enjoyed Iain Jennings' keyboard work, and this is highlighted to great effect on the co-written, with Josh, and rather dark, Tomorrow Dies. The keyboards, together with some thumping drum work by Alex Cromarty, create a track which is about as futuristic as the band will ever come. Olivia belts out a massive vocal lead, and I can see this becoming a firm anthemic favourite in the live arena.

It is fantastic to welcome back the hugely talented flautist and vocalist, Angela Gordon, Anne-Marie Helder having left to concentrate on Panic Room and linked projects. In addition to her contribution to Raindown, I love the recorder intro to the Norse mythology track, Only The Brave. It is a misleading intro, though, because the main body of the song rocks along at a rollicking pace, showcasing, in particular, a very strong rhythm section in Cromarty and Andy Smith.

From Norse mythology imagined around a camp fire, we decamp to Native American spirituality and love of life in Native Spirit. The denouement, with guitar, dark, looming, keys, and pounding drums & bass creates a massive wall of sound, and is a particular delight. Josh produces a wonderfully sensitive vocal in the lead up to the end passage, which crackles with emotion.

Talking of which, the album closer, Forever and Beyond, is a lovely paeon to lost youth, absent friends, and thoughts of eternity. It is a gentle love song which always stays on the right side of mawkish, and is Celtic to its very roots.

There is not one bum note or track on this album, a fine addition to a library bursting with great work. It is quite excellent, and highly recommended, especially to those tempted to dip their toes in for a first ever listen to the band.

Four stars, but an extra half if we had the facility for such a rating.

 A Passion Play: An Extended Perfomance by JETHRO TULL album cover Boxset/Compilation, 2014
4.90 | 55 ratings

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A Passion Play: An Extended Perfomance
Jethro Tull Prog Folk

Review by Tapfret
Prog Reviewer

5 stars Issue #100

A Passion Play on the P-Word
An Extended Performance?

Now Pretentiousser!

Ah, here we are. The prized prey of 1973's pompous and paradoxically pedantic pundits of pop critique, A Passion Play. The preeminent work in the prog paradigm of conceptual long-plays, it was poked, prodded and universally panned as prohibitively ponderous. These professional persecutors of pastoral pursuits, with egos as pumped up as Pink Floyd's inflated prop pigs, snuffled their protuberant probosces in paraphrase:
'Who is this pipe-playing pranceabout with a proclivity toward perplexity? A pox on he! HE IS PRETENTIOUS! PRETENTIOUS, I SAY! ....oh praise be my vocabulary, I should procure an augmented percentage payment for my perspicacity. *tsk tsk*'

Poppycock!

Even if belated, the positive prospects of the play's fans would not be put out. Here, and now, a palliative presentation on four pristine plastic platters of digitized programmes. Packaged with the fabled Chateau d'Herouville sessions, the precursor to A Passion Play, the re-mastered source is propagated with improvements. Shall we dispense with the preamble and proceed?

Who could possibly protest the pronouncement that A Passion Play, this prosaic conceptual picture of a poor young souls demise presented in thespian parlance, stands as a pinnacle of progressive rock? As prefaced, many would. But let us not ponder further the failed placation of the pop plutocracy. Let us instead plow forward to how perfection could be further polished. Enter the patriarch of Porcupine: prog's prodigal prince of post- production, one Steven Wilson. Mixing to the standard pentangle of sonic projection ...point one. The encompassing sounds paint the play in hues of polychromasia that create additional pyretic layers of character to the seemingly polydactyl pressing of keys and strings. This plussing is no more evident than in the bounding bookend parts to the play's intermission, Forest Dance #1 and #2. Additionally, it has come to light that we were pinched of 50 some-odd seconds of verse on Foot of Our Stairs, until now.

The package also contains a peak into the band's pragmatic fiscal pilgrimage as potential ex-patriots to the palace proximal to Paris, Chateau d'Herouville. Was this possibly a peaceful place to practice and record? Alas, our players would be plagued with problems. First their place of sleep was infested with parasitic pests. But most problematic was the pabulum induced peristaltic pathology that progressed to peritoneal rumbling to the party's participants. Nonetheless the band plugged away at their project, their perseverance punished by having it hidden away from posterity. The product has familiarity, no doubt. Many passages ported to the eventual final A Passion Play release, while Skating Away on the Thin Ice of a New Day would later be a pop-chart resident. Like the title discs, The Chateau d'Herouville Sessions are presented on both re-mastered CD and DVD featuring DTS 5.1 mix.

The parade continues with a booklet with pages of paragraphs on the history and pre-history of this profoundly wondrous work. The story of the previously summarized Chateau sessions is contained within along with discussion of the remix process by Steven Wilson, interviews past and present, and tour photos.

And if that was not enough, a live ballet performance of the greatest moment in progressive rock history, The Hare Who Lost His Spectacles!

The purveyors of enhanced media have properly palpated the pulse of this progger. This was no passive undertaking. 5 stars before. Now, 5 stars more.

Perfection.

Data cached

Prog Folk bands/artists list

Bands/Artists Country
0.720 ALEACION Mexico
3 DAFT MONKEYS United Kingdom
AALTO Finland
RABIH ABOU-KHALIL Lebanon
ACCOLADE United Kingdom
ACCOLADE United States
ADARO Germany
AFFORESTED United Kingdom
AFION Croatia
AGAPE Canada
AGINCOURT United Kingdom
AIGUES VIVES Germany
AKTUALA Italy
NICU ALIFANTIS Romania
ALMÔNDEGAS Brazil
ALVA Multi-National
AMANITA Italy
AMAROK Spain
AMAZING BLONDEL United Kingdom
AMBER United Kingdom
AN DRO Germany
ANACRUSA Argentina
IAN ANDERSON United Kingdom
THE ANGELS OF LIGHT United States
ANNAMY Sweden
APARECIDOS Multi-National
AQUAPLAN Finland
AQUARIUM Russia
DAN AR BRAZ France
MARCO ANTONIO ARAUJO Brazil
DAN ARBORISE United Kingdom
THE ARBORISTS Canada
ARIA PALEA Italy
ARMY OF BRIARS United Kingdom
ARTSRUNI Armenia
ASGARD France
ASHADA Japan
ASHTAR Brazil
ASI SOMOS Puerto Rico
ATMAN Poland
AUCAN Argentina
AVALANCHE Netherlands
AVE SANGRIA Brazil
AZAHAR Spain
BABADAG Poland
BABY WHALE Multi-National
BAMBIR / THE BAMBIR Armenia
BANDA DO CASACO Portugal
A BARCA DO SOL Brazil
BARR Sweden
TOMAS BATISTA Argentina
BAYON Germany
BEAT CIRCUS United States
BEDEDEUM Italy
BERNARD BENOIT France
BLACKMORE'S NIGHT United Kingdom
BLOPS Chile
BLUEHORSES United Kingdom
BOULE DE SON Canada
BRAN (BRÂN) United Kingdom
BREAD LOVE AND DREAMS United Kingdom
BRECHE Canada
PAUL BRETT United Kingdom
BRÖSELMASCHINE Germany
BUCIUM Romania
TIM BUCKLEY United States
VASHTI BUNYAN United Kingdom
C.O.B. United Kingdom
CAEDMON United Kingdom
CALIBAN United States
CÁLIX Brazil
CAMELIAS GARDEN Italy
CAN AM DES PUIG Multi-National
CANDIDATE United Kingdom
CANO Canada
CANZONIERE DEL LAZIO Italy
MARCELLO CAPRA Italy
CARMEN United Kingdom
CARNASCIALIA Italy
CAROL OF HARVEST Germany
GIAN CASTELLO Italy
PHILIPPE CAUVIN France
CHAC MOOL Mexico
CHALIBAUDE France
CHERCHE-LUNE France
CHIMERA Netherlands
CHRYSALIDE France
CIRCULUS United Kingdom
CLANNAD Ireland
CLOGS Multi-National
COMUS United Kingdom
CONGREGACION Chile
CONGRESO Chile
CONNIVENCE Canada
CONTRALUZ Argentina
CONVENTUM Canada
CORDE OBLIQUE Italy
DAVE COUSINS United Kingdom
CREMATORIUM Russia
CRYSTAL PHOENIX Italy
CRYSTAL THOUGHTS Greece
CURRENT 93 United Kingdom
DAEMONIA NYMPHE Greece
DANCER United Kingdom
DARNAKES Greece
DAWNWIND United Kingdom
DEAD CAN DANCE Australia
DECAMERON United Kingdom
THE DECEMBERISTS United States
DEMI-HEURE Canada
DETEKTIVBYRĹN Sweden
DIEGO DE MORON Spain
DODSON AND FOGG United Kingdom
DR. STRANGELY STRANGE Ireland
DULCIMER United Kingdom
DUN AENGHUS Multi-National
DUNWICH Italy
JUDY DYBLE United Kingdom
EDEN Germany
ELANE Germany
ELFONIA Mexico
NANCY ELIZABETH United Kingdom
EMERAUDE France
EMTIDI Germany
ENBOR Spain
ENGEL (MIGUEL ANGEL DE LA LLAVE JIMENEZ) Spain
L' ENGOULEVENT Canada
RÓBERT ERDÉSZ Hungary
ERGO SUM Chile
ERROBI Spain
ESPERS United States
ETERNIDAD Argentina
LA FAMIGLIA DEGLI ORTEGA Italy
FARAWAY FOLK United Kingdom
FARPOINT United States
FAUN Germany
FAUN FABLES United States
FAVERAVOLA Italy
FAVNI (FAUNS) Germany
FEATHERS United States
THE FELLOWSHIP Italy
FERN KNIGHT United States
FIABA Italy
FIELDS BURNING United States
FIORI-SÉGUIN Canada
FLAIRCK Netherlands
FLIBBERTIGIBBET South Africa
FLOR DE LOTO Peru
FOLKLORE Australia
I FOLLI DI DIO Italy
FOLQUE Norway
FORENINGEN TIL LIVETS BESKYTTELSE Denmark
FOREST United Kingdom
FORSETI Germany
FRACTAL (CHILE) Chile
FRAGUA Spain
FRED United States
FRESH MAGGOTS United Kingdom
FUCHSIA United Kingdom
FUREKĹBEN Denmark
GAIA CONSORT United States
GALADRIEL Australia
GALAHAD Germany
GALLERY United Kingdom
GARMARNA Sweden
GAROLOU Canada
GENESIS DE COLOMBIA Colombia
THE GENTLE SOUL United States
THE GHOST United Kingdom
GJALLARHORN Finland
GLAZ France
GORGO Ukraine
GRAAL France
THE GREEN CHILDREN Italy
LARKIN GRIMM United States
GROVJOBB Sweden
GROWING DREAM Canada
GRYPHON United Kingdom
GUALBERTO Spain
GURNEMANZ Germany
GWERZ France
HAIZEA Spain
ROY HARPER United Kingdom
HAWK South Africa
HAZARI Yugoslavia
HEAVEN & EARTH United States
L' HERBA D'HAMELÍ Spain
HEXVESSEL Finland
HOELDERLIN Germany
HORIZONTE Argentina
HORSLIPS Ireland
IBIO Spain
ILL WICKER Sweden
ILOUS & DECUYPER France
BRIAN IMIG United States
IN THE LABYRINTH Sweden
THE INCREDIBLE STRING BAND United Kingdom
INDACO Italy
IONA United Kingdom
IRAKLIS Greece
ITHACA United Kingdom
ITOIZ Spain
ITZIAR Spain
IZUKAITZ Spain
JACK O' THE CLOCK United States
LOS JAIVAS Chile
JAN DUKES DE GREY United Kingdom
BERT JANSCH United Kingdom
JESTER United Kingdom
THE JESTERDAYS Greece
JETHRO TULL United Kingdom
NIGEL MAZLYN JONES United Kingdom
JOX France
JUSTINE Multi-National
KAAMOS Finland
KADWALADYR France
KARNATAKA United Kingdom
CHRIS KARRER Germany
KATALENA Slovenia
KEBNEKAISE Sweden
KERRS PINK Norway
KING FISH CROW United States
KLADIVO KONJ IN VODA Slovenia
KOLIBRI Germany
KOLINDA Hungary
ATTILA KOLLÁR Hungary
KONTRABURGER Poland
KORMORÁN Hungary
KOSMOS Finland
BRUCE LAMONT United States
JÉROME LANGLOIS Canada
LAURELIE Belgium
LEAFBLADE United Kingdom
PERRY LEOPOLD United States
BENITO LERTXUNDI Spain
LI TROUBAIRES DE COUMBOSCURO Italy
LISA O PIU Sweden
LISKER Spain
LONG LIVE DEATH United States
LOT LORIEN Bulgaria
LOUDEST WHISPER Ireland
CLARE LOUISE France
LUCCI MARSOLA TATINI AND BURANI Brazil
LUMSK Norway
MADDEN AND HARRIS Australia
MAGDALENA Spain
MAGICFOLK United Kingdom
MAGMA Argentina
MAJA DE RADO & PORODICNA MANUFAKTURA CRNOG HLEBA Yugoslavia
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MARLBORO MAN Hungary
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JOHN MARTYN United Kingdom
MARY JANE United Kingdom
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LE MATCH Canada
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ME AND MY KITES Sweden
MELIMELUM Argentina
MELLOW CANDLE Ireland
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MESSENGER United Kingdom
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MIRANDA SEX GARDEN United Kingdom
DRAGO MLINAREC Yugoslavia
MOĞOLLAR Turkey
COLIN MOLD United Kingdom
MONSEIGNEUR Switzerland
MONTREAL Canada
MORMOS United States
THE MORRIGAN United Kingdom
MOSTLY AUTUMN United Kingdom
MOTIS France
THE MOULETTES United Kingdom
MOURNING PHASE United Kingdom
MOVING HEARTS Ireland
MR. BROWN Sweden
MR. TOAD Israel
MUNDI DOMINI Canada
MUSHROOM Ireland
NIRGAL VALLIS Mexico
THE NOCTURNES United States
NOMADS OF HOPE Sweden
MICHEL NORMANDEAU Canada
NORTH SEA RADIO ORCHESTRA United Kingdom
THE NOVA PROJECT United States
NUEVO MEXICO Mexico
NUIT CALINE A LA VILLA MON REVE Belgium
NYA LJUDBOLAGET Sweden
GAVIN O'LOGHLEN & COTTERS BEQUEST Australia
O.W.L. United States
OBERON United Kingdom
OCTOBER PROJECT United States
OLOFERNE Italy
OMNI Spain
OPEN EYE BAND Finland
ORFANADO Italy
ORPHEUS GHOSTSONG United Kingdom
ORYZHEIN Canada
OUGENWEIDE Germany
P. G. SIX United States
PAN-RA Germany
PARADOX Poland
EMMANUELLE PARRENIN France
PARZIVAL Germany
PASTORAL Argentina
PATANGA Germany
JEAN LUC PAYSSAN France
PEARLS BEFORE SWINE / TOM RAPP United States
THE PENTANGLE United Kingdom
PERERIN United Kingdom
LINDA PERHACS United States
PESNIARY (PESNYARY) Belarus
PHOENIX Romania
PIERROT LUNAIRE Italy
PIIRPAUKE Finland
PLANKTON WAT United States
POSITIVE WAVE Finland
A PRESENÇA DAS FORMIGAS Portugal
PRINCIPAL EDWARDS MAGIC THEATRE United Kingdom
PROVIDENCE United States
PRUDENCE Norway
PTARMIGAN Canada
THE PUDDLE JUMPERS United States
QUICKSAND United Kingdom
QUINTAL DE CLOROFILA Brazil
QUINTETO ARMORIAL Brazil
RABBIT RABBIT (CARLA KIHLSTEDT & MATTHIAS BOSSI) United States
RADA & TERNOVNIK (THE BLACKTHORN) Russia
RAGNARÖK Sweden
RAMASES United Kingdom
RASPUTINA United States
REBEKKA Germany
RED JASPER United Kingdom
REIFROCK Germany
REVERIE Italy
RIPAILLE France
RITMIA Italy
ROGER RODIER Canada
BERNARDO RUBAJA Argentina
KARI RUESLATTEN Norway
RUJA Estonia
S VREMENA NA VREME Yugoslavia
SAD MINSTREL Italy
SAGA DE RAGNAR LODBROCK France
SAINT JUST Italy
SAKRE Spain
THE SALLYANGIE United Kingdom
SCAPA FLOW Finland
SCARLET THREAD Finland
NATE SCOBLE United States
SECOS & MOLHADOS Brazil
SECRET GREEN United Kingdom
SEDMINA Yugoslavia
SERPENTYNE United Kingdom
GILLES SERVAT France
SHANNON France
SHAVE THE MONKEY United Kingdom
SHIDE & ACORN United Kingdom
SHINE DIÓN Norway
SILMARIL United States
SINDELFINGEN United Kingdom
SINTESIS Cuba
JIMI SLEVIN Ireland
SMELL OF INCENSE Norway
SOFT HEARTED SCIENTISTS United Kingdom
SORNE United States
SPARIFANKAL Germany
SPIRES THAT IN THE SUNSET RISE United States
SPIROGYRA United Kingdom
SPRIGUNS (OF TOLGUS) United Kingdom
STACKRIDGE United Kingdom
VLATKO STEFANOVSKI Macedonia
ALAN STIVELL France
STONE ANGEL United Kingdom
STÓRSVEIT NIX NOLTES Iceland
STRANGE DAYS United Kingdom
STRAWBS United Kingdom
PEKKA STRENG Finland
STRING CHEESE United States
STRING DRIVEN THING United Kingdom
STUMARI Georgia
SUBURBANO Spain
SUBWAY Multi-National
SÜNDENFALL II Germany
SUPAY Peru
SUR PACIFICO Chile
SUSSITA Israel
SYNANTHESIA United Kingdom
TALAMASCA United States
TALITHA QUMI Romania
TAMALONE Netherlands
TAMARUGO Chile
TANGERINE France
TARENTULE France
TARUJEN SAARI Finland
LOU MAXWELL TAYLOR United States
TEA AND SYMPHONY United Kingdom
TEMPEST United States
TENHI Finland
TERRA MYSTICA Slovenia
BOB THEIL United Kingdom
THE THIRD ESTATE United States
THISTLETOWN United Kingdom
THOBY LOTH Finland
THORK France
THURSAFLOKKURINN Iceland
TIR NA NOG Ireland
TIRILL Norway
TORNAOD France
TRADER HORNE United Kingdom
TREES United Kingdom
THE TREES COMMUNITY United States
TREMBLING BELLS United Kingdom
TRI YANN France
TRIO DAG Yugoslavia
TROCARN Switzerland
TROISIČME RIVE France
TROISSOEUR Belgium
TUATHA DE DANANN Brazil
TUDOR LODGE United Kingdom
TUIMA Finland
TUNEFISH Germany
TURQUOISE Poland
TUSMŘRKE Norway
TYRANNOSAURUS REX (NOT T. REX) United Kingdom
U I BLUE United States
UDRAYA France
UNCLE DIRTYTOES United States
UNGAVA Canada
UNITED BIBLE STUDIES Ireland
STEVE UNRUH United States
UQBAR Argentina
US AND THEM Sweden
VEGA Spain
VIIMA Finland
VOICE OF THE SEVEN WOODS United Kingdom
RILEY WALKER United States
JUNE WALLACK Canada
WATER INTO WINE BAND United Kingdom
WATERTOUCH Sweden
THE WAY WE LIVE United Kingdom
LEAH WAYBRIGHT United States
WERWOLF (WEREWOLF ART ROCK) Germany
ROBIN WILLIAMSON United Kingdom
WITTHUSER AND WESTRUPP Germany
WOVEN HAND United States
WURTEMBERG France
WYRDGENES United Kingdom
GABRIEL YACOUB France
YAVANNA Germany
YGGDRASIL Germany
YOKE SHIRE United States
YOU AND I Hungary
ZAGUAN Spain
ZARTONG Armenia
ZAUBER Italy
ZEIT Italy
ZLYE KUKLY Israel
ZRNI Czech Republic
ZYWIOLAK Poland

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