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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

4.42 | 1335 ratings
LED ZEPPELIN IV
Led Zeppelin
4.48 | 459 ratings
BLACKSTAR
Bowie, David
4.35 | 949 ratings
QUEEN II
Queen
4.32 | 1128 ratings
PARANOID
Black Sabbath
4.30 | 1092 ratings
A NIGHT AT THE OPERA
Queen
4.27 | 786 ratings
THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS
Bowie, David
4.24 | 1019 ratings
BLACK SABBATH
Black Sabbath
4.24 | 789 ratings
ARGUS
Wishbone Ash
4.20 | 879 ratings
SEVENTH SON OF A SEVENTH SON
Iron Maiden
4.21 | 612 ratings
RISING
Rainbow
4.15 | 845 ratings
POWERSLAVE
Iron Maiden
4.15 | 874 ratings
SABBATH BLOODY SABBATH
Black Sabbath
4.17 | 607 ratings
HUNKY DORY
Bowie, David
4.13 | 850 ratings
MASTER OF PUPPETS
Metallica
4.11 | 721 ratings
RIDE THE LIGHTNING
Metallica
4.20 | 294 ratings
REMAIN IN LIGHT
Talking Heads
4.12 | 503 ratings
LOW
Bowie, David
4.08 | 898 ratings
MASTER OF REALITY
Black Sabbath
4.16 | 340 ratings
SECRET TREATIES
Blue Öyster Cult
4.05 | 1101 ratings
LED ZEPPELIN
Led Zeppelin

Latest Prog Related Music Reviews


 The John Renbourn Group: The Enchanted Garden by RENBOURN, JOHN album cover Studio Album, 1980
3.31 | 4 ratings

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The John Renbourn Group: The Enchanted Garden
John Renbourn Prog Related

Review by SteveG

3 stars The Enchanted Garden, at least in my mind, is a less joyous album than its predecessor A Maid In Bedlam for a number of reasons. First off, it is without the fiddle playing of John's former girlfriend Sue Draham, with multi instrumentalist John Molineux taking her place. Secondly, the album was recorded after an exhausting tour of the UK, Europe and the States. The latter country having produced the excellent live album Live In America. The third reason was the eschewing of the fun traditional sing along folk songs found on their first album. Renbourn returns to his love of early English and Renaissance music which is instrumental and quite staid in comparison to the past fun sing along narratives. Jacqui McShee returns in a more solo singing role, especially in her a capella reading the trad. song "A Bold Young Farmer" and the Pentangle like "The Planes Of Waterloo" and "The Maid On The Shore" , with support from the rest of the group. All three songs would have fit perfectly on Pentangle's The Cruel Sister album and are of the same quality.

Renbourn's near guitar tutorials of ancient Pavane instrumentalss, which lead off the album, would have fit perfectly on his Lady And The Unicorn album from the mid seventies. Again, being of the same quality. This gives the album a sense of being neither fish nor foul, despite the quality, and leads one to want to focus on only one genre and go back to past albums to explore that genre more deeply. Only the semi improvisational instrumental "Sidi Brahim" puts one in mind of the Renbourn Group's first album, but by then it's too late as the spell has long been broken. 3 stars.

 The John Renbourn Group: A Maid in Bedlam by RENBOURN, JOHN album cover Studio Album, 1977
3.53 | 10 ratings

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The John Renbourn Group: A Maid in Bedlam
John Renbourn Prog Related

Review by SteveG

4 stars A Maid In Bedlan was The John Renbourn Group's first of two studio albums and the best. Utilizing the crystalline vocals of former Pentangle bandmate Jacqui McShee, you would automatically think that stellar results would be a given, but the album surpasses even that. Surrounded by crack musicians, these talented band members were also close personal friends of Renbourn, including his girlfriend at the time, the talented Sue Draham on fiddle and backing vocals. And the happy vibes are evident in the music produced. Focusing on traditional folk songs with new arrangements featuring multiple vocals instead of solo signing, for example, these traditional tunes take on vibrant new life while remaining true to Renbourn's love of early English music.

Shorn of bass and drums, the magical table playing of Keshav Sathe wonderfully fills both music spaces allowing the delicate vocals of McShee and Draham shine, while the woodwinds of Tony Roberts and Drahan's fiddle offer wonderful melodies and counterpoints. Renbourn is happy to play his acoustic guitar in an understated supporting role. An amazing feat of humbleness on behalf of the acoustic guitar virtuoso. All of the songs are so good that it's hard to pick favorites, but the unique multiple vocal reading of "John Barleycorn", featuring the staggered counter backing vocals of both McShee and Draham countering Renbourn's and Robert's harmony leads, must be a highlight. My only complaint is that the album is so enjoyable that just goes by too quickly. Thank God for the replay button.

 High Voltage: Live by ASIA album cover Live, 2014
2.33 | 11 ratings

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High Voltage: Live
Asia Prog Related

Review by Matti
Prog Reviewer

2 stars Since there are no reviews yet, here's a quick one. I have given two stars for the "Access All Areas" CD+DVD set that featured Pat Thrall replacing Steve Howe on guitar (in 1990), and despite this one featuring the original quartet, I really can't say I'd like this more.

The venue is London's Victoria Park, and the date is 24th July, 2010. Visually there's not much to be excited, in fact both the stage setting and the camera work are rather dull. The roughly hour-long set features the Asia debut completely -- though not in the original running order -- plus two newer songs: 'An Extraordinary Life' and 'I Believe'. I wasn't impressed in the least by either of them, so I don't even care to check from which album(s) they are from. My interest towards the latter-day Asia is frankly quite minimal, while it's precisely the 1982 debut which I was charmed by in my early teens and which I still enjoy listening every now and then (well, not often, though). Nevertheless, this time, with this gig, I didn't get the excitement. I even used NEXT button for a few times before finishing the song. Glad to say I only borrowed this from library. Needless to say, the CD with identical contents was completely useless to me.

The main fault is poor sonic quality. The band itself plays OK, but the recording is not very good. Sometimes the sound seems oddly muted momentarily while some details sound too loud in comparison. There may have been some technical problems right from the start; I was wondering what Steve Howe was trying to say to the stage stuff with his hand gestures.

My highlight moment was Geaff Downes' mock-orchestral solo spot at the end of 'Cutting It Fine'.

 In Through the Out Door by LED ZEPPELIN album cover Studio Album, 1979
2.98 | 667 ratings

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In Through the Out Door
Led Zeppelin Prog Related

Review by VianaProghead
Prog Reviewer

4 stars Review Nº 740

By the late of the 70's, Led Zeppelin was starting to face the consequences of their own excesses. Guitarist Jimmy Page and drummer John Bonham were dealing with tough addictions, heroin and alcohol respectively, while singer Robert Plant was questioning himself about his own future in the music business after the death of his son, Karac. The music's situation was also having changes, pop music and the synthesisers were hitting the scene, and Led Zeppelin had to keep pace with the times and added some synthetic sound to their works. Thus was born "In Through The Out Door".

"In Through The Out Door" is the eighth and last studio album of Led Zeppelin and was released in 1979. The album marks a mixture of sounds and rhythms from different styles. It has a massive use of keyboards and synthesizers by John Paul Jones that excels beyond the chords of Jimmy Page. A fact that greatly marked the release of the album was the edition of six different covers because the scene in the bar was photographed by six opposite angles. It became also the band's final studio album, because it was released one year before the death of their drummer John Bonham.

"In Through The Out Door" has seven tracks. The first track "In The Evening" written by Robert Plant, Jimmy Page and John Paul Jones is a very powerful song in the same line of the good old days. It's a classic Led Zeppelin's tune with a catchy riff and great keyboard lines. It's the second lengthiest song on the album and is a great song to open the album, respecting the good old tradition of their great opening musical numbers. This is one of the two highlights of the album. The second track "South Bound Saurez" written by Robert Plant and John Paul Jones is a song centred around John Paul Jones's piano, with strong vocals, and where is particularly noticed the almost absence of Jimmy Page. It's one of the only two Led Zeppelin's songs without the participation of Jimmy Page, in the song writing, in the history of the band. The other is "All My Love", also from this album. It's a piano oriented song with excellent vocals from Robert Plant, as usual. The third track "Fool In The Rain" written by Robert Plant, Jimmy Page and John Paul Jones was chosen to be released as a single, with "Hot Dog" as the B side. It's a song dominated by piano and with a Latin touch. It's a song that spans several musical genres, and in the end, it has also a surprising samba section. It's an excellent song with a great drumming work that proves that John Bonham could play all type of music. The fourth track "Hot Dog" written by Robert Plant and Jimmy Page is clearly a song influenced by the country music. As you know, I don't like particularly of this kind of music, and you can remember, for sure, my negative observations about those songs written by Greg Lake for Emerson, Lake & Palmer. However, in this case and despite being the weakest song on the album, it's audible. The fifth track "Carouselambra" written by Robert Plant, Jimmy Page and John Paul Jones is the other highlight on the album and stands alongside as one of the best and most progressive Led Zeppelin's tracks. It's the lengthiest song on the album and it's also their second lengthiest song ever. This is a fantastic song dominated by keyboards and with an incredible drum work, which soon became one of my favourite songs from the band. The sixth track "All My Love" written by Robert Plant and John Paul Jones was a song written in honour of Plant's son Karac, who died while Led Zeppelin were on their 1977's USA tour. It's a very beautiful ballad, one of the most beautiful ballads that I ever heard, and where the emotional lyrics are sung with a very sentimental feeling by Robert Plant. This is one of their finest ballads. The seventh and last track "I'm Gonna Crawl" written by Robert Plant, Jimmy Page and John Paul Jones is a song heavily influenced by the American soul-blues. It's a very good song very well performed and where Robert Plant have, for me, one of his best vocal performances. It became, unfortunately, the Led Zeppelin's swan song.

Conclusion: I really always loved "In Through The Out Door". I always considered it their second most prog effort with "Houses Of The Holy". Still, "In Through The Out Door" was always the most controversial, unloved and misunderstood album of Led Zeppelin. So, it became an underrated album, one of the many underrated albums in the progressive rock history. "In Through The Out Door" is an album without weak points. It has two excellent progressive songs, "In The Evening" and "Carouselambra" and the rest of the album is very good, and even "Hot Dog" is good. "In Through The Out Door" is another album where Led Zeppelin changed their type of music. So, if John Bonham hadn't died so soon, I would be very curious to know what the musical path they would have followed in the future. Let's now write a few lines about John Paul Jones. I think he was placed in the shadow of the band, but he always was the quiet force of the group. He hadn't the charisma of Robert Plant, the virtuosity of Jimmy Page or the living force of John Bonham. Still, he is a very complete musician a basilar stone in the band. "In Through The Out Door" is essentially a John Paul Jones album. Though he had always contributed with songs to the group, on this album he confirmed he is a great songwriter, really.

Prog is my Ferrari. Jem Godfrey (Frost*)

 A Kind Of Magic by QUEEN album cover Studio Album, 1986
3.04 | 433 ratings

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A Kind Of Magic
Queen Prog Related

Review by Hector Enrique
Prog Reviewer

3 stars Queen's legendary performance at "Live Aid" encouraged the band to return to the recording studios, and after two years of uncertainty about the band's continuity, they finally released "A Kind of Magic", their twelfth album, in 1986.

Best known for being the album that prompted what would end up being the band's last tour with Freddie Mercury and immortalised on 1992's "Live at Wembley", "A Kind of Magic" is made up of a handful of songs, many of which formed part of the soundtrack for the film "Highlander" and complemented by a few party rock songs, making up a hybrid mosaic that never quite came together as a unit.

The auspicious "One Vision", an energetic piece from start to finish, the festive and chanting rock of "Friends Will be Friends", the orchestrated and slightly cloying emotionality of "Who Wants to Live Forever" and the rocky forcefulness of "Princes of the Universe", the best track on the album by far, make up the album's most successful passages; and on the other hand, as a counterpart, the accessible "A Kind of Magic" of unthinkable vitality live, and tracks that do not fit in with the band's history and do not add much value, beyond the experimentations that Mercury was always so prone to, such as the soporific soul "One Year of Love" with sax included, "Pain is so Close to Pleasure" in Motown style, or the confused "Don't Lose Your Head".

Despite this unsynchronised duality, "A Kind of Magic" is a loveable album by Queen, who at that point in their career had already passed all the tests they had been subjected to for years, and hence its rating is always associated more with the emotional elements it generated than with an objective evaluation (if one can speak of objectivity in a matter of taste...).

2.5/3 stars

 Physical Graffiti by LED ZEPPELIN album cover Studio Album, 1975
4.05 | 1000 ratings

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Physical Graffiti
Led Zeppelin Prog Related

Review by VianaProghead
Prog Reviewer

4 stars Review Nº 736

By 1975 no one was bigger or heavier than Led Zeppelin. America and the world in general was punch drunk after the quadruple whammy of their first four albums, each supported by live tours that went from scene- stealing support slots to stadium-filling three-hour marathons, almost overnight. Even the slightly below average for critics and fans "Houses Of The Holy" hadn't dented their reputation one jot. The world, and its attendant pleasures, was theirs for the taking.

"Physical Graffiti" is the sixth studio album of Led Zeppelin and was released in 1975 as a double album. Recording sessions for the album were initially disrupted when the bassist and keyboardist of the band John Paul Jones considered leaving the group. After reuniting at Headley Grange, a former poorhouse in Headley, East Hampshire, England, which is best known as a recording and rehearsal venue in the 60's and 70's for bands like Led Zeppelin, Bad Company, Fleetwood Mac, Genesis, Peter Frampton, Pretty Things and Clover, the band wrote and recorded eight songs, the combined length of which stretched the album beyond the typical length of a single LP. This prompted the group to make a double album including previously unreleased tracks from other earlier recording studio sessions.

It was the first album released by Swan Song Records, the new label created by the group, and the album points to various styles and influences of music. "Physical Graffiti" is often cited as one of the greatest albums of all time. This album is one of the list of 200 definitive albums in the Rock and Roll Hall of Fame and it was also considered by Rolling Stone Magazine the 70th greatest album of all time. The album was a critical and audience success, reaching the top of the Billboard. Soon after the release of "Physical Graffiti", all previous released albums of Led Zeppelin returned to the list of 200 most listened albums. It went 16x platinum in the USA, in 2006, signifying shipments of eight million copies.

Often described as Led Zeppelin's definitive work, there's no denying that "Physical Graffiti" influential hold on the modern music acts. This is a double album that traversed many genres, blues, rock, roots, folk, metal, world- music, and that's just for starters. For many this sixth studio album of Led Zeppelin is arguably their pinnacle, their peak, their high rock worthy of its rating. This two record set, the product of almost two years' labour is the band's "Tommy", "Beggar's Banquet" and "Sgt. Pepper's" rolled into one. "Physical Graffiti" is the Led Zeppelin's bid for artistic respectability. Admittedly, a fair amount of "Physical Graffiti" was composed of offcuts and work- in-progress from their previous two albums, though those were offcuts startling quality. But what really shines out is the sheer genre defying eclecticism of it all. Far more than just a crowd pummelling hard rock act with the world's beefiest rhythm section, these boys were able to do everything from folk "Bron Y Aur" and blues "In My Time Of Dying", to country rock "Down By The Seaside" and barrelhouse Rock'n'Roll "Boogie With Stu". In fact, "Physical Graffiti" serves pretty much as a primer of the band's entire oeuvre. And amongst these flights of dexterity we get some of the band's best loved numbers of all time. "Trampled Underfoot", driven by Jones' stomping Fender Rhodes pulls off the remarkable trick of being both heavy and funky as hell. "Custard Pie" and "The Rover" are monster axe workouts, and of course "Kashmir" is still a juggernaut of incredible power, a blend of east and west inspired by Page and Plant's mystical wanderings and underpinned by Bonham's legendary rumble, famously captured in all its ambient glory in the huge hallway of Headley Grange Manor. And it all came wrapped in one of those fabulously intricate die cut sleeves that make all people of a certain age long for a return to the glory days of vinyl. In short, "Physical Graffiti" captures the whole experience of Led Zeppelin at the top of their game. "Physical Graffiti" is the sound of a group writing their identity across the popular culture, indeed.

Conclusion: Led Zeppelin returned from a nearly two years of a hiatus of time since their previous fifth studio album "Houses Of The Holy", released in 1973. This very ambitious double studio album treat many of the songs on "Physical Graffiti" as forays into individual styles, with only occasionally synthesizing sounds, notably presented on the second most extensive song on the album "Kashmir". In reality, "Physical Graffiti" is a real tour the force and a perfect test to Led Zeppelin's musical versatility. Thus, "Physical Graffiti" is a very difficult album to judge as a whole really, such is its musical variety. However, it's, in my humble opinion, a very essential album in the discography of the group, even it has only one essential track on it, "Kashmir". In reality it has only two truly great tracks on it "In My Time Of Dying" and especially "Kashmir". However and in general, this is an excellent Led Zeppelin's studio album, very good and cohesive enough. Led Zeppelin doesn't know how to make weak albums, really. "Physical Graffiti" is an album that reminds me too much "Living In The Past" of Jethro Tull. Both are essential albums to both bands but both are far way of being real masterpieces. Sincerely, for me, all the first five studio albums of Led Zeppelin are better than "Physical Graffiti" is.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Escape [Aka: E5C4P3] by JOURNEY album cover Studio Album, 1981
2.90 | 149 ratings

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Escape [Aka: E5C4P3]
Journey Prog Related

Review by Boi_da_boi_124

1 stars Review #166!

Fitting that my first one-star review was from Journey, one of the biggest AOR bands in history. But in all seriousness, just to keep myself from punching my computer repeatedly and passionately until it breaks, this review will be short. I will try to keep my anger in check as best as I can. Now to the review. This album starts with the ultra-hit 'Don't Stop Believing', which has plagued my existence ever since I first heard it. Hideous, disgusting, and vile. Following it is 'Stone in Love', with some poor musicianship, horrible panning (you can barely hear the vocal over the loud guitar tracks, maybe for the better), and more. 'Who's Crying Now' is the perfect showcase of Steve Perry's squeaky, obnoxious vocals. The music is cheap, repetitive, and utterly cheesy. "Keep On Runnin' is deeply frustrated, because it tries its best to be high-octane and fun, but is cut by the bad vocals, overly-simplistic drumming, and dumb, repetitive guitar riffs. 'Still They Ride' sounds like something that would play in the background of some B-rated romance movie. It wants to be profound, but then it realizes it's a journey song and gives up on trying to sound good. 'Escape' is horribly repetitive and goes nowhere, as the entire album is. 'Lay it Down' is Rush-reminiscent, but for the worse, since it's the same riff for four minutes straight. 'Dead or Alive' sounds okay for the first three seconds, or until Steve Perry sings and runs everything. 'Mother, Father' sounds like the poor man's Styx: arena rock that is too repetitive and just plain bad to be called anything other than 'ppbbbbbttthtthh!'. 'Open Arms, another big hit, shows Steve Perry trying to be sentimental and pretty, but it just sounds like slightly more comprehensible caterwauling. No good. This album is quite simply put, garbage, but I won't judge the people who like this music, since it can hold a lot of sentimental value for those who grew up with it. I grew up hating it when everyone else loved it, so there are no good memories here for me. So, in my eyes, irredeemable, but not that bad for everyone. Prog on, but don't Journey on.

 King's X by KING'S X album cover Studio Album, 1992
3.47 | 70 ratings

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King's X
King's X Prog Related

Review by Lesanderd

3 stars In 1992, almost all the elite of metal and hard music had nothing but good things to say about King's X (even Yngwie Malmsteen, although not a model of open-mindedness). Between the lack of recognition and the tensions with producer Sam Taylor, King's all the usual ingredients are present on the record, the recipe is scrupulously followed but the sauce does not take. The riffs lack substance, the choruses are too predictable, and in short, there is no enjoyable and spontaneous feeling of Gretchen Goes to Nebraska and Faith Hope Love. When Doug Pinnick admits to not even remembering the recording of this album, it helps to identify the problem: King's X makes an appearance, and that's it. The highlight of the album is "Dream in My Life"
 Olias of Sunhillow by ANDERSON, JON album cover Studio Album, 1976
3.97 | 486 ratings

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Olias of Sunhillow
Jon Anderson Prog Related

Review by Hector Enrique
Prog Reviewer

4 stars After "Relayer", the members of Yes at that time took a break to develop personal projects parallel to the band's universe. It is in this context that "Olias of Sunhillow", the solo debut of Jon Anderson, the most visible image and voice of the British band, was one of those that generated the most repercussions. The fantastical adventure that Anderson's imagination recreated, taking the singer's experimentation through one of its most recognisable aspects to paroxysm: the heroic "Olias" accompanied by the pilot "Ranyart" and the influential "Qoquaq", must save the four tribes of their village "Sunhillow" from volcanic destruction, using for this purpose the peculiar ship "Moorglade Mover", a flying device of undisguised resemblance to the one on the cover of "Fragile".

Anderson uses a great variety of string and wind instruments (harp, mandolin, flute, etc.) and synthesizers, showing his enormous capacity to accompany the story with a suspenseful and dramatic sonority, generating a mystical and epic atmosphere, as in the opening "Ocean Song", or in the tribal and orientalised "Qoquaq en Transic / Naon / Transic To" and its reminiscent airs of "Tales From Topographic Oceans", complemented by luminous sections of peaceful beauty, with magnificent acoustic and choral developments, as in the second section of "Meeting (Garden of Geda) / Sound Out the Galleon", or in the rhythmic "Flight of the Moorglade", which features choruses similar to those of the massive "Horizons" from Jon & Vangelis' later album "Private Collection", or in the brief arpeggiated guitar interlude towards the beginning of the last third of the extensive "Moon Ra / Chords / Song of Search", all of them moments of very successful execution, and that have their final point with the melancholic "To the Runner".

The conceptual "Olias of Sunhillow" is one of Anderson's best expressions as a solo artist, and while some of the collaborative works with the Greek Vangelis have moments of brilliance, or his stellar contribution to Kitaro's "Dream" album is one of his pearls among many, the stature of the Briton's first album remains at the top of his discography, and even without intending it, could be considered as one of the precursor elements of the later "New Age" current.

4 stars

 Asia in Asia - Live at the Budokan, Tokyo 1983 by ASIA album cover Live, 2022
3.36 | 5 ratings

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Asia in Asia - Live at the Budokan, Tokyo 1983
Asia Prog Related

Review by tvtennis

3 stars Well ..... first the positives; (my comments refer to the box set) It is an impressive lavish box w/perhaps a few unnecessary items such as some printed memorabilia like posters, pictures, replica tour ticket, back stage pass ....

The audio is surprisingly good on the "new Remixed" version on the Blu-ray. You can choose between the original MTV satellite telecast and the remixed versions. The CD in the box set includes two extra tracks "Cutting It Fine " & "Daylight" which do not appear on the single CD issue.

The not so great: The box set is somewhat misleading, offering the 2 CD's, Blu-ray, & 2xLP's. The Cd's according to the packaging, are supposedly two different performances. One being the MTV telecast, the other, the previous night's performance for the Japanese audience only. I find it somewhat redundant, it is the same show effectively one is a dress rehearsal for the main event. I was under the impression since they are offering two CD's it might be a little longer overall performance. I apparently misunderstood the description on the box, my bad. If the whole performance fits on one CD, so be it. What I did not misunderstand however is the "The road to Budokan" band documentary. It should have been included on the Blu-ray, it is nowhere to be found! I looked at other reviews on a few different sites, I'm not the only one with this issue. In fact it looks like it is a misprint on the box. The Blu-ray offers two mixes of the main event, the original laserdisc version, and the new remixed one. Both the audio & video are considerably superior on the remixed option. There is one major flaw however. The audio while it is very good, it is slightly off sync w/the video on the better, remixed version (I hate when this happens). The original (inferior) laserdisc version audio is in sync.

The other missed opportunity; there's only a 2 ch. stereo mix, no 5.1 option! It is quite a shame since the performance is very good, Lake does a very good job on a fairly short notice.

All in all it is a somewhat disappointing experience, had I known about the misleading misprint re: the documentary and the off sync audio, I would have just purchased the single CD version, the two additional tracks are not going to change anyone's life in my opinion.

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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
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