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PROG RELATED

A Progressive Rock Sub-genre


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Prog Related definition



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

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

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

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

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

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

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

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

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

Prog Related Top Albums


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

4.39 | 1149 ratings
LED ZEPPELIN IV
Led Zeppelin
4.48 | 349 ratings
BLACKSTAR
Bowie, David
4.35 | 821 ratings
QUEEN II
Queen
4.30 | 973 ratings
PARANOID
Black Sabbath
4.29 | 950 ratings
A NIGHT AT THE OPERA
Queen
4.22 | 879 ratings
BLACK SABBATH
Black Sabbath
4.22 | 664 ratings
THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS
Bowie, David
4.22 | 676 ratings
ARGUS
Wishbone Ash
4.19 | 782 ratings
SEVENTH SON OF A SEVENTH SON
Iron Maiden
4.19 | 513 ratings
RISING
Rainbow
4.13 | 738 ratings
POWERSLAVE
Iron Maiden
4.12 | 742 ratings
MASTER OF PUPPETS
Metallica
4.15 | 499 ratings
HUNKY DORY
Bowie, David
4.10 | 755 ratings
SABBATH BLOODY SABBATH
Black Sabbath
4.15 | 348 ratings
SCARY MONSTERS (AND SUPER CREEPS)
Bowie, David
4.09 | 614 ratings
RIDE THE LIGHTNING
Metallica
4.06 | 867 ratings
PHYSICAL GRAFFITI
Led Zeppelin
4.07 | 766 ratings
MASTER OF REALITY
Black Sabbath
4.04 | 944 ratings
LED ZEPPELIN
Led Zeppelin
4.16 | 268 ratings
SECRET TREATIES
Blue Öyster Cult

Latest Prog Related Music Reviews


 David Gilmour by GILMOUR, DAVID album cover Studio Album, 1978
3.54 | 329 ratings

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David Gilmour
David Gilmour Prog Related

Review by VianaProghead
Prog Reviewer

4 stars Review Nº 315

David Gilmour is, as many of we know, the lead guitarist, one of the lead singers and one of the main songwriters of the legendary prog rock band, Pink Floyd. And as many we know too, he wasn't an original member of the band. But in 1967, Nick Mason, the drummer of the group, asked him if he would be interested in joining to Pink Floyd. He accepted and joined the band in 1968, making them a group of five members. It was brief because soon the founder guitarist Syd Barrett left the group because his erratic conduct on the band, and David Gilmour assumed the role of lead guitarist.

"David Gilmour" is their self titled debut solo studio album and was released in 1978. As he explained when the album was released, this debut solo studio album was very important to him, in terms of self respect, because he needed to step out from behind the Pink Floyd's shadow. All songs on the album were written by David Gilmour except "There's No Way Out Of Here" written by Ken Baker, "Cry From The Street" written by David Gilmour and Electra Stuart and "Short And Sweet" written by David Gilmour and Roy Harper.

Loose and collaborative, with some interesting instrumentals, "David Gilmour" is recommended because it's neither withering in the shadow of Roger Waters, nor like Gilmour's led albums in the band's third-act, trying too hard to sound like Pink Floyd. Instead, everything feels familiar and comfortable. Credit goes, in part, to Gilmour's backing band.

The line up on the album is David Gilmour (lead vocals, electric and acoustic guitars, keyboards, lap steel guitar, piano and harmonica), Rick Wills (backing vocals and bass guitar), Willie Wilson (drums and percussion), Mick Weaver (piano), Carlena Williams, Debbie Doss and Shirley Roden (backing vocals).

The album has nine tracks. The first track "Mihalis" is a Greek name and was the name of a yacht that David Gilmour owned at that time. It's an instrumental song, very light and mellow with some nice guitar melodies performed in David Gilmour's classic guitar style. This represents a good way to open the album. The second track "There's No Way Out Of Here" is a great song and one of the best tracks on the album. It's a song with the typical Pink Floyd's sound, and what is more interesting about that, is that is apparently the only song of the album that wasn't composed by David Gilmour. The third track "Cry From The Street" is a very good and enjoyable song and is a song more based in the blues style. It's a song a little bit repetitive but with excellent arrangements and where we can hear the typical David Gilmour's guitar sound. The end of the song reminds me strongly the sound of the Pink Floyd's album, "Animals". The fourth track "So Far Away" is a pleasant piano based ballad with meaningful lyrics, beautiful piano work and a nice guitar sound with a laid back guitar solo. The vocal performance on the song is also very impressive and is also one of the best I've ever heard from him. The fifth track "Short And Sweet" is a rock oriented song more in the vein of Pink Floyd's songs. It features a much harder guitar sound than the rest of the album and has also a good bass line and a fantastic vocal line. This song represents one of the best moments on the album and one of my favourite songs too. The sixth track "Raise My Rent" is another instrumental track. What makes this song most interesting is the slow, simple and repetitive guitar fills and the stunning guitar solo with the typical trademark sound by David Gilmour. This is another highlight of the album and one of my favourite moments too. The seventh track "No Way" is another song based in the blues style. It's a very nice song, very slow, with a main melody that brings to us the David Gilmour's nice voice and a nice guitar work too. Who likes David Gilmour' typical sound, likes this song too. The eighth track "It's Deafinitely" is another great instrumental song that explores the keyboard and the guitar works. It's a song with some good and interesting guitar moments with the repeating keyboard theme on the back, what makes a find and interesting musical moment on the album. The ninth and last track "I Can't Breathe Anymore" is a simple and nice song that finishes this first solo David Gilmour's studio musical experience. We can say that it's a slow song with a noise guitar sound. It's a short and good song that concludes the album with simple guitar fills. It's an enough good song to closes the album.

Conclusion: Despite I only purchased the album few years ago, I know it since it was released and I always considered it a great musical work. Although it isn't very progressive and be an album very influenced by the blues, it's a very well balanced and a very cohesive work. "David Gilmour" is, in my humble opinion, an album that despite remaining in the area of Pink Floyd's music, explores also another musical areas but only if they were very close to that area. So, "David Gilmour" is a very good album and if you like, as I like, of the inimitable guitar sound of David Gilmour, especially on the Pink Floyd's album "Animals", the resemblance is obvious, you mustn't miss this album, for any kind of reason. It should please the late Pink Floyd's fans. It boasts strong songs, great guitar work and Gilmour's ever-charming vocals.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Blackstar by BOWIE, DAVID album cover Studio Album, 2016
4.48 | 349 ratings

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Blackstar
David Bowie Prog Related

Review by sgtpepper

5 stars Some 19 years after his last challenging/progressive album (Earthling), Bowie hits the winning pace and lets all drop their jaws by creating this masterpiece that had been quietly cooked in the studio when he already knew it would be his last one. This swan song is one of the most unexpected and equally progressive works that undeniably broaden Bowie's legacy in progressive rock/art rock. Bowie surrounded himself by contemporary music trends to keep abreast and make a milestone ahead. Therefore, don't be surprised to hear drum'n'bass, electronica and other experiments. The first, title track combines great singing, almost mystical and offers great electronica with jazz background before coming to a more conventional art pop territory. The second track is none less experimental: hear echoes from the Berlin era with the updated almost drum'n'bass rhythm, free jazz saxophones. A pop listener may object to a monotonous track. "Lazarus" is a more traditional Bowie track rooted in art pop but still interesting instrumentation - saxophone, frequent drum fill-ins. "Sue (or in a season of crime)" is a drum'n'bass effort with beautiful arrangements by brass instruments and keyboards - very experimental and showing great textures. "Girl loves me" reminds me of late Bowie 70's due to synths while "Dollar days" is a poignant ballad with irregular rhythm. The last, swang song is a poppy song, melancholic but with jazz saxophone in the background.

This album contains several layers and a good dose of sophistication and takes multiple listens to be fully appreciated. One of Bowie's masterpieces and while not as revolutionary as his others, there wasn't anybody else apart from Bowie and Miles Davis being able to produce a contemporary music work after their 60's.

 The Next Day by BOWIE, DAVID album cover Studio Album, 2013
3.87 | 200 ratings

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The Next Day
David Bowie Prog Related

Review by sgtpepper

3 stars David Bowie returned with a nice comeback after 10 long years and he looks and hears to be revitalized, full of new energy and motivation. Looking at the album cover, references to former works from the 70's can be expected. After hearing an album you will confirm that but DB does not rest on the laurels and keeps the record natural by sticking to rock receipts as well as mixing slight electronic hints. Solid and well crafted outcome is the result. I don't agree with those that praise the album to be much better than the previous 3 albums, songwriting is at the same level or slightly worse but DB and his team spent more time on production and natural sound. You can hear that all players in the mix are very competent players who don't steal the spotlight, naturally.

The album starts off quite loud and upbeat with the most obvious referene to the 70's - "The next day" that sounds like producted with Brian Eno. "Dirty boys" is made in similar spirit - evocative format, good sound but no much of a songwriting power. The high quality of Bowie's creative writing comes to the surface in the latter tracks which are less about the sound and more about the substance. "Love is lost" is noteworthy for its combination of hypnotic church organ on a synth and modern drums. The ballad of the album is "Where are we now" and is easily one of the higlights with its haunting building melody, sad voice and keyboards. "Valentine's day" has a catchy melody and perhaps some 60's British corns in it.

"If you can see me" is a fantastic prog-rock track with syncopes, steady rhythm and full of ambition. "I'd rather be high" is a brilliant British pop track. "Dancing out in space" has a playful chorus. "(You will) set the world on fire" is an eager and anxious song that can be described as motivational by its name.

"Heat" is a dramatic track with rising cresciendo, full of reflection and a typical Bowie emotional vocal. Warm strings contrast with the dark air in the track. Maybe it was intended as a farewell track at its time.

 Reality by BOWIE, DAVID album cover Studio Album, 2003
3.36 | 134 ratings

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Reality
David Bowie Prog Related

Review by sgtpepper

3 stars The last of the three adult contemporary albums comes already one year after Heathen to also start a long period of silence. I would say that Bowie feels a bit tired on this record and there is a declined level of music creativity. This is compensated with greater rawess of music, it is edgier by the instruments and vocal. "The loneliest guy" is one of the creepiest Bowie's ballads, feels quite depressing, almost as if Bowie were drowning. "Looking for water" feels like 60's R&B beat with rocking guitar but it's hard to decide, which side the vocal wants to join. "Days" has a simple structure and yet interesting play with melody. The title track is suprisingly unremarkable. "Bring me the disco king" is the longest track with a simple structure but great jam-like piano which brings us to the jazzy waters. The track sounds fresh.
 Heathen by BOWIE, DAVID album cover Studio Album, 2002
3.74 | 175 ratings

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Heathen
David Bowie Prog Related

Review by sgtpepper

3 stars Heathen is not much different from Hours that set Bowie's music cuisine to contemporary adult pop music. You can hear that he is a seasoned and crafted artist and the production work is great as usual. There is enough to discover after repreated listenings. Bowie's music has become more reflective and less upbeat in the recent years and that may sometimes provide more transparency to see into the core of his art.

Arrangements and instruments support main ideas but stay politely in the background. Although there are electronica/trip-hop influence in the first track, the album is carried on a more conventional pop-rock wave. Out of instruments, I would highlight clever guitar playing variety and drums that sound differently in literally every song. Noteworthy is a string trio or quartetto that accompanies in several songs. The darkest a bit symphonic track comes at the end with echoes of the Berlin era.

There are few artists that in the world that could craft such a pleasant, competent album sounding contempotary at their age of 55 and remain true to themselves at the same time.

 Hours... by BOWIE, DAVID album cover Studio Album, 1999
3.41 | 132 ratings

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Hours...
David Bowie Prog Related

Review by sgtpepper

3 stars David Bowie stripped off experiments that were characteristic for his three or four last albums in the 90's and returned to contemporary adult pop/rock on this release. In comparison to "Let's dance" or other 80's releases, it is a less commercial effort albeit more radio friendly than "Earthling" for example.

The focus is on the substance and not the format which is good even though not always typical for DB. Strikingly good melodies, some good compositional hooks, memorable songs and not much time spent with instrumentation this time, that is the main message. The record is more laid back and sounds less dated than anything from the 90's or 80's.

"Hours" as the title track is deservedly one of the best songs with a charm and development that a DB fan can expect.

The longest track is a bit experimental with various drumming patterns but the melody is monotonous, though. Track 7 could easily be a Blur number, whereas the eighth track, "Suspicious minds" somehow reminds me of Tom Petty.

This album was one of my first forays into DB compositions and I recognize its place and qualities.

 Low by BOWIE, DAVID album cover Studio Album, 1977
4.09 | 407 ratings

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Low
David Bowie Prog Related

Review by sgtpepper

5 stars One of the most interesting albums for proggers as well as pop/rock listeners and the first one that marks the start of Bowie's exposure to electronic music. Even in this digital outfit, Bowie excels with his craftmanship, showmanship and profesionalism.

Brian Eno makes excellent contribution as helps raise the band as one of Bowie's masterpieces. Keyboards, special drum sound and effects have replaced guitars and traditional rock keyboards. Songs are rather short but fresh.

The atmosphere is rather pessimistic and no wonder if post-rock found something valuable here.

The first instrumental song is the perfect intro to the album's mood. Energetic, powerful. "Breaking glass" is a electro- rock track with bluesy guitar, you could dance to it and equally listen with pleasure. "Sound and vision" shares previous feelings of Bowie for American R&B. "Be my wife" has a powerfully strong piano chords

I like the synth feel of the second half of the album with almost non-existent Bowie's voice.

"Warszawa" is my most favourite track here because it seems to be a solely Eno track, with beautiful dark keyboard textures and melody. Bowie delivers experimental vocal that sounds like Asian inspiration.Excellent stuff!

"Art decade" follows closely with electronic beats and melancholic synth chords - a spacy music. The mastery of Eno!

"Weeping wall" brings more variety with a guitar, pulsating beats and excellent synth sounds. "Subterraneans" is a more reflective piece, two synth leads playing melody and a simple bass synth providing lower support. Bowie's multilayered vocals define melody. Saxophone brings a more human touch in the second half. This is an excellent addition and masterpiece for any music fan.

 Station to Station by BOWIE, DAVID album cover Studio Album, 1976
4.01 | 325 ratings

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Station to Station
David Bowie Prog Related

Review by sgtpepper

4 stars When Young Americans was a transitional album, Station to Station is a full-fledged and competent excercise in funk and blue-eyed soul. The change seems natural to Bowie and he fits well in the new realm, although it's definitely far from the best works create in funk/R&B not is it a revolutionary album, it is just well crafted and executed.

The first composition, the epic "Station to station" is a masterpiece of Bowie's excercise in art rock because of its structure and experimentation. Drums, Hammond, piano and bass are so pleasurable but even more is the change of the structure until it gets into more conventional melodic rock territory.

From now on, all remaining songs on the album are closely related to contemporary R&B. Not sure if Bowie's voice suits this type of music but instrumentally, all goes fine. "Word on a wing" has good female vocals. "TVC15" has a piano reminiscent of Elton John. "Stay" is my second favourite track because of its funky beat and quite a good melody.

 Aladdin Sane by BOWIE, DAVID album cover Studio Album, 1973
3.85 | 360 ratings

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Aladdin Sane
David Bowie Prog Related

Review by sgtpepper

3 stars Aladdin Sane is not a radical departure from the previous album however it is less demanding and revolutionary. Glam rock could best describe the style displayed here. After the first forgettable track, we have "Aladding Sane" that remind me of Steely Dan with the jazzy feeling. You can't miss the incredible avantgarde piano solo that is outside of rock realm. Saxophone free solo is also noteworthy.

"Drive-in Saturday" also has a fine melody and grove including pleasing saxophone.

"Time" has a piano staccato chords but also provides great support with more experimental parts. "The prettiest star" has a typical Bowie flavour, saxophone and melody. Next two songs are quite Stonesy although only one of them is their cover.

The album with highlights but not nearly as good as Hunky Dory or The rise...

 The Rise And Fall Of Ziggy Stardust And The Spiders From Mars by BOWIE, DAVID album cover Studio Album, 1972
4.22 | 664 ratings

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The Rise And Fall Of Ziggy Stardust And The Spiders From Mars
David Bowie Prog Related

Review by sgtpepper

4 stars Another influential and landmark album after "The man who sold the world". At artistic and creative peak, we have a blend of various styles, instruments and approaches as opposed to more conventional Hunky Dory. Missing are epic compositions from the previous albums.

"Five years" is not yet a representative song with simple melody. "Starman" has a great melody and rightfully belongs to the most popular Bowie tracks. "Soul love" shows inspiration in American black music. Glam rock hooks are represented by "Moonage Daydream", quite a good track with a memorable melody.

"It ain't easy" is rocking as well as bluesing. The title track is surprisingly unremarkable except from its guitar riffs and heaviness, whereas the sophisticated "Rock'n'roll suicide has musically little to do with orthodox rock'n'roll.

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Prog Related bands/artists list

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

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