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    Progarchives, the progressive rock ultimate discography

    CROSSOVER PROG

    A Progressive Rock Sub-genre


    From Progarchives.com, the ultimate progressive rock music website

    Crossover Prog definition

    Crossover Prog contains progressive rock music that, though 100% progressive, may have a musical connection to popular music-- whether it be the lack of emphasis on extended compositions, or an influence from mainstream music in addition to classical, jazz and folk. Compositions, however, still exhibit a high degree of sophistication, sometimes outright complexity, and the musicianship and virtuosity is often on a par with established Prog acts. Much like their kin in the established prog sub-genres, these groups will incorporate many major parts of what defines prog rock: the fusing of rock with the structures and discipline of more traditional musics, the use of syntheisizers and new technologies, intelligent thematics, and the expansion of the form.

    The defining characteristics of Crossover Prog are a pop music influence that is largely vacant in typical prog rock. Songs tend toward shorter, more concise presentations though still reach beyond the typical verse, bridge, chorus pattern. The harmonic, melodic, and rhythmic structures may be more easily digested in Crossover while not losing the musical integrity that a prog listener expects. Whereas Prog Related bands are generally commercial groups with certain prog elements or players that were involved in prog acts, Crossover Prog artists are predominantly progressive with elements of popular music.

    The most representative examples for this genre include The MOODY BLUES, SUPERTRAMP, DREDG, CINEMA SHOW, RADIOHEAD.

    - written by micky (Michael) and Chus (Jesus)

    Current team members:
    as at 19/4/2020

    Scott (Evolver)
    Keishiro (DamoXt7942)
    Cristi

    Crossover Prog Top Albums


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

    4.31 | 1615 ratings
    CRIME OF THE CENTURY
    Supertramp
    4.30 | 1343 ratings
    OMMADAWN
    Oldfield, Mike
    4.30 | 1513 ratings
    HAND. CANNOT. ERASE.
    Wilson, Steven
    4.29 | 2076 ratings
    THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
    Wilson, Steven
    4.22 | 980 ratings
    DOOMSDAY AFTERNOON
    Phideaux
    4.19 | 1762 ratings
    GRACE FOR DROWNING
    Wilson, Steven
    4.20 | 879 ratings
    PETER GABRIEL 3 [AKA: MELT]
    Gabriel, Peter
    4.20 | 834 ratings
    SNOWTORCH
    Phideaux
    4.18 | 1039 ratings
    ENGLISH ELECTRIC (PART ONE)
    Big Big Train
    4.18 | 827 ratings
    DAYS OF FUTURE PASSED
    Moody Blues, The
    4.17 | 750 ratings
    THE UNDERFALL YARD
    Big Big Train
    4.16 | 550 ratings
    ~
    Iamthemorning
    4.16 | 391 ratings
    SPIRIT OF EDEN
    Talk Talk
    4.14 | 445 ratings
    HOUNDS OF LOVE
    Bush, Kate
    4.11 | 1159 ratings
    TUBULAR BELLS
    Oldfield, Mike
    4.30 | 102 ratings
    THE EDGES OF TWILIGHT
    Tea Party, The
    4.25 | 126 ratings
    SON
    Obiymy Doschu
    4.20 | 171 ratings
    THE SHAMING OF THE TRUE
    Gilbert, Kevin
    4.11 | 595 ratings
    NIGHT
    Gazpacho
    4.09 | 818 ratings
    ENGLISH ELECTRIC (PART TWO)
    Big Big Train

    Crossover Prog overlooked and obscure gems albums new


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

    THE LOST ART OF TIME TRAVEL
    Presto Ballet
    2. (ODCIEń CISZY)
    Wozniak, Tadeusz
    GENERAL WINTER'S SECRET MUSEUM
    Tea Club, The
    CONQUISTA
    Alux Nahual

    Latest Crossover Prog Music Reviews


     The Fading Thought by JARGON album cover Studio Album, 2020
    4.00 | 1 ratings

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    The Fading Thought
    Jargon Crossover Prog

    Review by aapatsos
    Special Collaborator Prog Metal and Heavy Prog Teams

    — First review of this album —
    4 stars a glimmer of hope

    During these dark times, this album comes as a lifeline. Deeply personal, extremely well-crafted, cathartic and adequately bizarre to cause prog excitement. Jargon retains the goth/dark-wave aura of Verbal Delirium's sound in his personal debut and does away with most of the heaviness and guitar distortion. Interestingly, there is a glimmer of hope and optimism coming out of an abundance of minor chord progressions.

    Jargon creates on piano, mostly modern classical/cinematic music, which filters influences from 70's Genesis (Time is Running Out) and sounds resembling great (but disparate) classic and more modern composers - Greek Manos Hatzidakis and Russian Gleb Kolyadin come to mind. Marillion and Saviour Machine hints can be heard in the dystopic ''How Can I?'', Jargon's soft spot for Muse is revealed in (perhaps the least impressive number) ''Window to the World'' while the aura of Peter Hammill is - as expected - more than evident.

    The three instrumentals are stunning pieces of self-expression with impressive buildups and the violin literally and metaphorically striking some sensitive chords to the point where I am brought to tears in the opening ''The Film'' and ''Light'' (feels like Rock Progressivo Italiano has managed to creep in the latter - reminds me of Gnu Quartet's recent work). The bombastic ''Dance of the Framed Words'' makes me smile and wander back to Gryphon's ''Red Queen to Gryphon Three''.

    It is unlikely that you will find this album any less than intriguing. A highlight for 2020 with thanks owed to the composer for sharing his inner, fading, thoughts...

    4+

     Prehensile Tales by PATTERN-SEEKING ANIMALS album cover Studio Album, 2020
    3.78 | 30 ratings

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    Prehensile Tales
    Pattern-Seeking Animals Crossover Prog

    Review by NickCrimsonII

    3 stars The second album from Pattern-Seeking Animals is now available for people to enjoy! Turns out the band's promise to release an album a year might be kept, as this is the members' side project. I must say that I was disappointed by the first album - it didn't feel quite complete and I did not spend too much time with it, just to revise it again upon the release of 'Prehensile Tales', and to discover that I still do not enjoy it that much.

    Now, about this album: Raining Hard In Heaven opens up with this groovy and super catchy bass line, and continues to unfold in a very poppy way, which is obviously what the band's trying to achieve - to mix accessible sounds with more adventurous song structures. Not sure if I enjoy the chorus as much as the verse. The song goes through an instrumental mid-section that is quite reminiscent of the Spock's Beard releases from the last decade, and this is bot bad at all!

    Next up on the track list is Here In My Autumn. Which is almost like a logical continuation of the previous track, pretty similar song structure, even the lengths are almost the same. Not a bad track, as well, I must say. The third song is probably my favorite on this album - and so far, my favorite song from the band's catalogue. It is the track that best encapsulates the philosophy and the main idea of P-SA: to write prog-pop numbers with adventurous instrumentation and catchy hooks.

    Elegant Vampires is undoubtedly the most memorable and enjoyable track for me. Also, so far the first three tracks were all released as singles which is a bit strange given that the album is just 6 tracks. It is kind of disappointing to know what half of the record sounds like before being released. However, Elegant Vampires - fantastic track!

    Next up is another shorter song - Why Don't We Run. It sets an interesting mood although it is a bit different from what came before it and from what will come after it. Not too much to say about it, upon several listenings, it is my least favorite song. Then it comes - the 17-minute Lifeboat - the song that should be teasing prog fans and scaring the ones who turn to P-SA for more accessible songs. Usually, the first question I ask myself when listening to such a large chunk of music is - is it worth the time? Does the song provide the epic feel, the dynamics, the pay-off that one expects from a seventeen-minute piece. Well, in this case, the band really managed to make a really enjoyable song with a couple of surprises throughout, the best of which is the sax that really elevated the song's experience for me. A chunky guitar solo from Leonard was also lovely to hear, a bit of mellotron and violin, too. Great chorus, and intelligent lyrics. Definitely beautiful track that I feel would also fit perfectly in an SB album, if they were to release one this year!

    Finally, we arrive at the 12-minute Soon But Not Today, the album closer. This song continues the spirit of all the rest that came before it, combining the playful tones of the first three songs in the first six minutes and some 70s symphonic rock melodies in its second half.Another enjoyable one and a proper finish that also leaves an open end for the band to continue.

    Great vocal performance by Leonard throughout this whole thing, his voice really seems to get better with age, and also really strong backing vocals from Keegan, and a super tasty bass tone of Meros! What is there to say about the instrumentation? The band members are well-known and experienced masters of their instruments, maybe Boegehold's abilities were more unknown but are no less great than the other members'.

    'Prehensile Tales' is a much more sonically organised and concentrated album than its predecessor. This time the band manages to create a sonic experince that is captivating but also enjoyable throughout the whole time.

    3.5/5 stars seems like a reasonable rating of this record, leaving myself a curiosity and a wish that the band can top it, continuing the positive progression of their releases!

     Invisible Din by ESP album cover Studio Album, 2016
    4.03 | 32 ratings

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    Invisible Din
    ESP Crossover Prog

    Review by Agnenrecords

    4 stars ESP is basically a two-man band comprised of guitarist/producer/multi-instrumentalist Tony Lowe and drummer Mark Brzezicki, ably supported with a stellar cast of collaborators. Lowe first came to my attention as the guitarist for the live launch of the 2015 David Cross and Robert Fripp CD Starless Starlight (which Lowe produced) where his understanding and appreciation of one of the most classic and memorable progressive rock melody lines was on display. Along with Cheryl Stringall he's also the co-founder of Sunn Creative, their socially aware record label (it operates on ethical business principles which include a commitment to environmental and social issues.)

    Brzezicki is best known for his work with Big Country, though prog fans will associate him with Procol Harum; he's well regarded in drum circles and boasts an impressive session CV. These two musicians assembled some great names from the prog scene to play on the album including early exponents and more recent practitioners; they all made guest appearances at the live launch gig in London in a line-up enhanced by keyboard player Mickey Simmonds because Lowe, who played keyboards on the recording, confined himself to guitar.

    Simmonds cites some classic prog influences and I recognised his name from Camel's Harbour of Tears album (1996). Also on stage were bassists Steve Gee and Phil Spalding, each performing roughly half the set; vocalist John Beagley; David Jackson on saxes and flute; Yumi Hara on harp; and David Cross on violin.

    Lowe explained that the concept behind Invisible Din was that "the songs evoke a man's childhood memory of illness and a ghostly, healing presence of beauty as he ventures into the realms of the astral world. The music and lyrics encompass the yearning we have for that elusive other, the dream partner, crossing the line between reality and fantasy as he ventures into the unknown." On repeated listening it's obvious the concept stands up really well. There's a Floydian feel to some of the material, partly down to the exacting production values but also because the work is remarkably melodic; something that was less noticeable during the live performance.

    It's evident that the band is a really tight-knit outfit, with densely layered lines of largely instrumental prog of the highest order. There are three lead instruments available at any one time playing over a solid, busy rhythm section. The lyrics are concise but well constructed and the vocal delivery, by Lowe, Brzezicki and Beagley is sympathetic to the storyline and pitched to convey appropriate emotions: reflection; elation; longing. The keyboard patches are accurate reproductions of 70s analogue sounds and I can detect influences as varied as early Genesis, post-Gabriel Genesis, UK, a little Pawn Hearts-era Van der Graaf Generator and maybe some 10cc art-rock. I'm not suggesting the sound is derivative in any way and if I were to suggest a sonic comparison, I'd plump for one of the modern Italian symphonic prog acts because of the use of the flute.

    With the launch of Invisible Din in 2016, I thought that ESP represented a new standard-bearer for symphonic progressive rock. Subsequent releases have veered more into post- or alt-rock territory though they have maintained good-sized chunks of symphonic prog, the content perhaps reflecting the changing line-ups; all are worth adding to the collection though Invisible Din is the one any symphonic progressive rock fan would enjoy.

    Four and a half stars

     Karmatrain by OUTSIDE IN album cover Studio Album, 2019
    3.50 | 2 ratings

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    Karmatrain
    Outside In Crossover Prog

    Review by Rivertree
    Special Collaborator PSIKE Team & Band Submissions

    3 stars I came across them in a relatively common manner. Like most of the bands, quasi as an appetizer, they had offered song excerpts from their new album beforehand. Works well in most cases, almost always. OUTSIDE IN are from New Zealand, not a big prog scene there, as for that you have to look over at Australia, the neighbourhood. Okay, I know, not seriously comparable. Stylistically seen close to the likes of Entransient, Ossicles, A Liquid Landscape, Anubis they are not defining something eternally new, this should be said. That's not the case here. Anyhow, there's something regrowing again and again. Hence I'm thrilled that still new entertaining compositions and even real pearls are deriving from this meadows on and off.

    The OUTSIDE IN crew is capable of serving sensitive and emotive ballads, that's assured. Trips to melt away, one can say. Well, Mikey Brown has a big share, his voice is rather charming. 'Everything Must Change' - due to this context Blue Dragon then evolves into a heavier direction with more expressive vocals. This so far describes it in general, here we have more than 60 minutes of material showing a unique balance of ballad-esque and heavier rocking moments. Hereby a few songs are average, too polished according to my taste. Though generally seen I find this a quite impressing album regardless. Hence, consequently, finally just let me emphasize one of their highlights, The Garden Of Light, a real masterpiece. Aah, I can't release, burnt into my mind somehow, I'm open to listen to this track again and again. 3.5 stars.

     Face The Music by ELECTRIC LIGHT ORCHESTRA album cover Studio Album, 1975
    3.38 | 248 ratings

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    Face The Music
    Electric Light Orchestra Crossover Prog

    Review by iluvmarillion

    4 stars As another reviewer says, ELO got better as they shed their progressive roots. That's opposite to what people on a prog rock site expect to hear and consequently the ratings go down as you chronologically move through the ELO discography. If you seek lengthy compositions, unusual time signatures, flashy musical technique and multiple styles within a song, you won't find it on Face The Music, nor any subsequent album. However, in terms of song writing craft Jeff Lynne hits his strides in a trio of albums beginning with this one. The result is eight superbly written pop songs performed by a multi-instrumental rock band. The value you attach to song writing craft and arrangement over musical technique and style determines your rating score. Any star rating between one and five is equally valid here, as this is an instance where bad prog rock doesn't align with bad album.

    Jeff Lynne hasn't shaken off all the influences that went to making Eldorado. We still get the heavy choruses, spoken word and strings that go into the instrumental opener, Fire On Water. However, this time the writing is much tighter. After the classical intro it moves into a fast rock beat with synthesizers and guitars and finishes with choir voices and flash of acoustic guitars.

    Waterfall is a great song, one of Jeff Lynne's best, with great lyrics. This is a slower track with Beatles like harmonies and better use of the chorus. Evil Woman is another great song with a dance like beat with a catchy chorus and piano and clavinet riff. Would have sounded even better without the kitchen sink approach of adding too many strings and too many female voices.

    Nightrider starts with synthesizer, then comes the ubiquitous strings and choruses as it develops into a very strong vocal line before the quiet piano finish. Again, great lyrics. Poker gives Bev Bevan something to do on drums and the song goes through a few time changes in a fast-paced guitar rocker with lots of synthesizer and drum fills. Strange Magic is another impressive song from Jeff Lynne. The orchestral intro is great but the strings in the middle spoil it a bit. It has breezy guitar at the start before it moves into piano and this time the female chorus really complements the song. Down Home Town is a play on Land Of Dixie with a catchy beat and chorus.

    The final track, the acoustic ballad called One Summer Dream, is I think the best thing Jeff Lynne ever wrote. It could do without the orchestra and even the choruses because it works brilliantly purely as a guitar piece. You feel as if you're floating off into the sunset as you listen to it.

    My major complaint with Face The Music is there are too many string arrangements on the album. I also think it could have done without all the choruses featuring on every track. You can achieve great harmonies with just a few voices. You don't need massive choirs. Sometimes less means more. But I'm quibbling here. The other instruments are fine with clever use of guitars, synthesizers, voices and piano. These songs are so strong they would survive any format. Jeff Lynne has peeled off some of his best songs, many of which were deserved single hits. He would outdo himself on his next album, A New World Discovery.

     Map Of The Past by IT BITES album cover Studio Album, 2012
    3.71 | 153 ratings

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    Map Of The Past
    It Bites Crossover Prog

    Review by Zoltanxvamos

    4 stars It Bites went with the large concept on this release, it was a bit of a shock for me to see such a band release a concept album (and my I say that this album has a bite to it? Ok... fine).

    Anyways, the lack of an epic on this concept album will take away from this a bit. Thankfully this album has some of both John Mitchell's best guitar playing and vocals, and John Beck's best solos. The lyrics are very compelling and of course concept based. It is very hard for me to say that this is their best album but it's a very good album overall. This has a hard hitting opener and equally hard hitting outro piece. For a concept album, the themes of the second World War, and the emotion driven songwriting works. This is a very well realized concept album, it is very well written, great effects, great production, and great playing from all musicians. From 'Man In The Photograph' to 'Exit Song', all the pieces are very emotion driven, and I will stand by this album. I'll be honest though, I think this album should've ended off with 'The Last Escape', it's a very solid song with a hard hitting lyrics, the music is very well written and emotional, but again I feel that this album ended twice. 'The Last Escape' and 'Exit Song' end each other off, but even if that's the case, this album is still very good.

    Conclusion: This is probably the second best album by the band, it has everything a concept album should have. It Bites has been growing for a long time and I think that this was the best idea for the band, releasing a large concept album to show they are a top notch Neo-Prog band. Good job It Bites, you guys made a very good album indeed, one of the best in 2012.

     Eldorado by ELECTRIC LIGHT ORCHESTRA album cover Studio Album, 1974
    3.84 | 359 ratings

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    Eldorado
    Electric Light Orchestra Crossover Prog

    Review by iluvmarillion

    1 stars Jeff Lynne is an extraordinary talent, a bit like his fellow troubadour, Justin Hayward. They have that unique ability to turn out guitar ballads which resonate on the ears. Writing rocker numbers is a bit more difficult. Hayward wrote a beauty, Question, while Lynne hit the jackpot with Livin' Thing. On The Third Day is a continuation of the Roy Wood formula of lifting classical music pieces such as Hall Of The Mountain King and applying rock musical instruments to them. The issue is when Roy Wood leaves the band many of the progressive elements which make the style of ELO distinctive depart with him and Jeff Lynne has to assume the direction for the band. On the evidence of On The Third Day Lynne is still feeling his way, writing good tunes, but still searching for a formula that moves the band forward.

    With Eldorado Jeff Lynne tries to hedge his bets and fails to make either a solid pop album, or a satisfying rock album that builds on the ideas of On The Third Day. Firstly, basing an album around a concept isn't particularly new, or fresh at this time and doesn't suit his style of song writing. Secondly, ELO are their own orchestra. Why would they get Louis Clark to do string arrangements for the band when they have all the strings they need to make their concept album?

    The album doesn't start well. We get a prologue of spoken word which may have worked well in 1967 for Days Of Future Passed, but here in 1974 it comes across as pretentious. For good measure the voice is distorted. After the strings overture we get to the best song on the album, a ballad, Can't Get It Out Of My Head, but it's treatment of choruses and strings almost ruins the simple piano theme of the song. After that it's no better. The baroque sounds of trumpets introduce Boy Blue, a very ordinary rocker that goes on and on. Guitars and everything except the kitchen sink drag the music along until we get to the piano riffs of a John Lennon like song in Mister Kingdom, but all that is ruined by more violins. Nobody's Child has a catchy tune but even that reminds me of something else I've heard before. More strings and rock and roll leads into the finale of more strings and spoken voice until it all thankfully comes to an end.

    There are dozens of musicians featured in this album, Little Richard, Chuck Berry and John Lennon to name a few. The only one missing is Jeff Lynne.

     Live In England by DOWNES, GEOFFREY album cover Live, 2019
    4.00 | 1 ratings

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    Live In England
    Geoffrey Downes Crossover Prog

    Review by kev rowland
    Special Collaborator Honorary Reviewer

    — First review of this album —
    4 stars Since their debut album came out in 2012, which has since been followed by two more, fans have been requesting that Geoffrey Downes and Chris Braide actually perform some gigs to support them. However, both are incredibly busy with Downes recording and touring with both Asia and Yes, while Braide is an in-demand songwriter and producer. In September 2018 they finally made it to a stage at Trading Boundaries in East Sussex, and the set has now been released as a double CD, DVD and vinyl. They are admirably supported throughout by Andy Hodge (bass) and David Colquhoun (guitar), but sadly there is no "real" drummer which is always going to be a deficit to my mind. The set is mostly taken from their previous two albums together, along with a few hits along the way.

    I must confess that Downes's versions of "Video Killed The Radio Star" works incredibly well in the more refined context, but that is a solo piece and it is when Braide is singing that the band really comes to life. I must confess to not having heard any of the DBA albums but based on this performance I am missing out. Strong vocals, great hooks, this is a commercial prog band with real presence and if they had a live drummer, they would be a force to be reckoned with. I am somewhat disappointed they included some Asia numbers, as well as the aforementioned Buggles, as although they are good covers (albeit that Braide sings higher than Wetton), they are just that, covers. These guys have released three albums together, but no songs from the first featured here, so why not include some of those and leave the Asia songs out altogether? I am old enough to remember being extremely pissed when Bruce Bruce left Samson and joined Iron Maiden, but I doubt there was any talk of Maiden now performing "Vice Versa". This is a separate band to Asia, so leave the songs to the guys who can really do them justice.

    That annoyance to one side, this is a very slick release indeed, and I am sure we would be talking more about DBA if they were more visible, but as it is this is a nice set which never breaks boundaries but is pleasant all the same.

     Breakdown - A Compilation 1995 - 2019 by KERZNER, DAVE album cover Boxset/Compilation, 2019
    4.00 | 1 ratings

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    Breakdown - A Compilation 1995 - 2019
    Dave Kerzner Crossover Prog

    Review by kev rowland
    Special Collaborator Honorary Reviewer

    — First review of this album —
    4 stars Keyboard player and singer Dave Kerzner first came to prominence when he was working with Kevin Gilbert at the time of the 'Thud' album and was also involved with Giraffe. As well as founding a sound production company, he has stayed active in the music scene, notably forming Sound of Contact with Simon Collins and co-writing and producing the album 'Dimensionaut.' Since then, as well as releasing albums under his own name, he formed In Continuum featuring special guests Steve Hackett of Genesis and more, Mantra Vega, a transatlantic project with former Mostly Autumn singer Heather Findlay, Lo-Fi Resistance with Randy McStine and star-studded tribute albums with his side project Sonic Elements. "Because a lot of my songs have ended up on albums from different bands and projects, as opposed to being easily found on my solo albums, I thought it would be nice to bring a taste of each together in one double CD package at an attractive price to introduce a body of my work to new listeners," says Kerzner. "While doing this compilation, I also wanted to include previously unreleased outtakes, alternate studio tracks and live versions of songs from these albums so this collection would appeal to those who already have my albums and want more."

    I only have a digital promotional copy, so do hope there are full details in the booklet of where each song originally appeared, as although this is a compilation it is mostly made up of previously unreleased songs, alternate versions or live cuts. For example, "Acceleration Theory Part 2: Annihilation," features vocalist Jon Davison of Yes, yet was actually co-written by Kerzner and Yes co-founder Jon Anderson (now that does strike me as somewhat strange). He even goes back as far as Gilbert's 'Thud' to provide us with a live version of "Joytown". As to the personnel on these tracks, it is namedrop after namedrop as not only is there Jon Davidson but Steve Hackett (Genesis), Francis Dunnery (It Bites), Durga McBroom (Pink Floyd), Lorelei McBroom (Pink Floyd), Fernando Perdomo, Marco Minnemann (Steven Wilson & The Aristocrats), Nick D'Virgilio (Big Big Train), Matt Dorsey (Sound of Contact), Colin Edwin (Porcupine Tree), Heather Findlay (Mantra Vega and Mostly Autumn) and many others.

    But even though this is a compilation of songs from a twenty year period, they have all been re-recorded, mostly with Kerzner on lead vocals, and the result is an album which is far more consistent than one might imagine. This is gentle Americanised crossover prog which is rarely bombastic, but is far more smooth than many may imagine. One song gently drifts into another, polished and serene. There will be quite a few people who are not aware of Kerzner given the way he is more often associated with bands than his solo work, and I am sure this release will raise his own profile in the way he wishes. It is a great introduction not only to him, but also to some of the bands with which he has been involved over the years, as we get alternate versions such as LoFi Reistance's "Chalk Lines" and Mantra Vega's "The Illusion's Reckoning". There will also still be plenty of people who have not previously come across Kevin Gilbert, his solo albums or Giraffe (although plenty will have come across some of the songs he had written given that his girlfriend at one time was Sheryl Crow), so to hear "Joytown" being performed live is wonderful ? one wonders what Gilbert would be doing today if he hadn't passed away so tragically in 1996. I don't know if that is one of the tracks featuring D' Virgilio but it would be nice if it was, bringing it back full circle.

    21 songs, nearly two hours in length, this is a great introduction to Kerzner and his music and is certainly worthy of investigation.

     Broken Barricades by PROCOL HARUM album cover Studio Album, 1971
    3.34 | 149 ratings

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    Broken Barricades
    Procol Harum Crossover Prog

    Review by iluvmarillion

    4 stars Broken Barricades, the fifth album of Procol Harum is the one associated most with the playing of Robin Trower. Trower performs and sings on the psychedelic, Song For A Dreamer, a homage to Jimi Hendrix who died only a fortnight after Trower last saw him perform. Robin Trower is often compared to Jimi Hendrix but the comparison is a bit unfair because there can only be one Jimi Hendrix. Song For A Dreamer is a precursor of the style of guitar playing you get on the Trower's Bridge Of Sighs album where Trower strengthens the guitars by adding bass player/singer John Dewar. Song For A Dreamer has all the familiar progressive elements of choruses, guitars that come and go and time changes to some sublime drumming of BJ Wilson. Another hard rocker on the album is Memorial Drive, also sung by Trower, with some superb heavy guitar playing. The album is mixed with a couple of stunning Brooker ballads, Broken Barricades and Luskus Delph. Keith Reid lyrics are a little less literal from the death obsessed lyrics of the Home album but have a certain poetry that suits the album. Simple Sister, the album opener, is much like the rest of the album in featuring less of the usual organ on a Procol Harum album and slipping in the occasional moog synthesizer. It starts off with a heavy guitar riff, rising in pitch to Brooker's voice and more electric guitar until settling into some Boogie Woogie style piano.

    Broken Barricades is a hidden gem. It's a shame that Robin Trower didn't continue with Procol Harum, but then we'd be missing out on some great Robin Trower solo albums. BJ Wilson shows here that he is one of the great drummers of his generation. Pity Procol Harum didn't have a stronger bass player. Then we might be comparing them with bands like The Who. After this Gary Brooker started working with orchestras which yielded mixed results. While he continued to improve as a song writer the band loses that hard edge that they had with this album.

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    Crossover Prog bands/artists list

    Bands/Artists Country
    17 PYGMIES United States
    1974 United States
    1O1 United States
    22 Norway
    3 United Kingdom
    3 United States
    3 LEGGED MONSTER United States
    3RDEGREE United States
    7TH KIND United States
    90 DAY MEN United States
    A.L.F. Brazil
    A2RK United Kingdom
    AARDVARK United Kingdom
    AARDVARK' Finland
    ABACUS Germany
    ABARAX Germany
    ABBFINOOSTY United Kingdom
    ABIOGENESI Italy
    LEE ABRAHAM United Kingdom
    ABSENTE H Spain
    ABSINTHE JUNK United States
    ACANTHE France
    ACCION ROCK BAND Spain
    ACTIVE HEED Italy
    THE ADDICTION DREAM United States
    THE ADVANCEMENT United States
    AFTER... Poland
    AGATHORN Denmark
    AGRABAH Argentina
    EDUARDO AGUILLAR Brazil
    AHOORA Iran
    AKIN France
    AKROPOLIS Denmark
    ALEPH Australia
    ALIAS EYE Germany
    ALL OVER EVERYWHERE United States
    ALPHA LIGHTING SYSTEM Mexico
    ALPHAJORGE Brazil
    ALTERNATIVE 4 United Kingdom
    ALUX NAHUAL Guatemala
    AMAROK Poland
    AMAZING MACHINE Norway
    THE AMAZING Sweden
    AMBERFIELD Germany
    AMITY IN FAME Austria
    TORI AMOS United States
    AMPERA Norway
    AMPHETAMIN France
    ANALOG MISSIONARY United States
    THE ANALOGUE United Kingdom
    ANANTA Venezuela
    ANAWA Poland
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