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    Progarchives, the progressive rock ultimate discography


    A Progressive Rock Sub-genre

    From Progarchives.com, the ultimate progressive rock music website

    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

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    Led Zeppelin

    Latest Prog Related Music Reviews

     Crosscut Saw by GROUNDHOGS album cover Studio Album, 1976
    3.15 | 14 ratings

    Crosscut Saw
    Groundhogs Prog Related

    Review by Sagichim
    Special Collaborator Honorary Collaborator

    4 stars Crosscut Saw is the 9th album by the Groundhogs, it was released in February 1976, and marked quite a big change from their early 70's stuff in style but especially in production. Long time band mates Pete Cruikshank on bass and drummers Ken Pustelnik and Clive Brooks are not here anymore, they are replaced by Martin kent and Mick Cook respectively. I'm not sure why Tony Mcphee felt the need to recruite another guitarist but Dave Wellbelove is here to accompany Mcphee, although I'm not sure what's his contribution. Unfortunately just when it seemed the band were onto a new road with a fresh new sound and approach, Mcphee decided to put the band on hold in the end of the year after Black Diamond was released, that will last for almost a decade until their next release in 1985.

    This is the least blues influenced album they've released in the 70's, it is much more rock oriented than before. Of course the blues is always there under the surface throughout the album and in 2 or 3 songs is much more evident, but clearly reduced to a minimum on a Groundhogs scale. Another big change is the production, this album (and its follow up) sounds very different than previous albums, out goes that dry, rough, muddy sound of Split and Who Will Save The World? not that it was bad in any way but now it's clearly improved, the album sounds brighter and fresh and everything is well balanced. Being a more produced album Tony uses more layers of guitars than before, his guitar tone is different now, taking in all kinds of varied and other colorful sounds, I especially love that furious high voltage sound that he brought.

    Although for some reason I've seen both those 1976 albums especially Crosscut Saw are considered to be inferior to other works, I don't agree with that at all. The songwriting is really good, inspired and sometimes very adventurous, for example take the main piece here which is Groundhogs most progressive song Fulfilment and you'll know what I mean. Starting nicely with a phased acoustic guitar strumming it then aligns to a steady rhythm with vocals and electric guitar on top, beautiful. It gets more intense later when drums join in and you kinda get the feeling you're walking on top of a volcano and it's true, the band goes into a long intense crescendo when Tony unleashes one of his most ferocious solos ever. Synth is added to help and create this climax while Tony's guitar seem to be caught fighting an inner demon, it gradually gets more intense as it goes along with a relentless synth lead and an anguished guitar sounding like a cat choking on a fur ball, it fades out slowly when the demon has got the upper hand, outstanding! The band's blues attempts are also good, Boogie Withus is a nice rocker, Mean Mistreater shows Mcphee's love for those old acoustic delta blues songs and Promiscuity is another strong highlight, love that merge of acoustic and ripping electric guitar sounds. Three Way Split is another interesting track when it changes half way to this cool instrumental where Tony is exploring the art of noise and sound effects.

    This is another undeniably good album by the band, I don't see Mcphee having a hard time coming up with original new material in spite of being surrounded with all new musicians. This will of course change later in the 70's when Tony struggled to come up with sufficient good material. But here even the less attractive songs on the album all enjoy Mcphee's fiery and energized guitar playing. 3.5 stars rounded up.

     Cult鰏aurus Erectus by BLUE 諽STER CULT album cover Studio Album, 1980
    3.51 | 139 ratings

    Cult鰏aurus Erectus
    Blue 謞ster Cult Prog Related

    Review by sgtpepper

    3 stars The band return to a good and convincing shape after two below average efforts. This album is a best marriage between older hard rock/rock, adventurous trips to prog-rock/jazz-rock and radio friendly AOR. The band delivers no fillers, decent compositions and seems to be getting the creative peak again. Songs are not only well composed but also thoroughly developed to admire arrangements and finesse that BOC got so renowned for.

    "Back blade" is a strong opener with Hammond and hard rock guitars. The chorus is a bit cheasy but the middle section with organ sounds mysterious and perfectly recreates the spirit of BOC. Using vocoders spoils the good feeling a bit. "Monsters" is a monster track and total highlight with hard-rock riffs followed by jazz saxophone moments which is very progressive. These two breathtaking tracks by followed by bluesy and ominous "Divine wind". "Deadline" has a futuristic bass line and 80's synth texture, a nicely updated sound. "Hungry boys" is a radio-friendly new wave song that still manages to feature a fast guitar solo. "Fallen angel" captures my attention by shouting vocal and ARP accolades. The last two tracks return to the 70's BOC territory: from hard rock to a lighter rock'n'roll. A fresh breeze of music and one of the band peaks.

     Some Enchanted Evening by BLUE 諽STER CULT album cover Live, 1978
    3.46 | 72 ratings

    Some Enchanted Evening
    Blue 謞ster Cult Prog Related

    Review by sgtpepper

    3 stars The band confirms their instrumental and live quality without sacrificing the sophistication of their studio work. Guitar playing and drumming stands out in particular. You can see a couple of tracks as videos on Youtube which will only support the positive and professional live impression.

    Those who bought the CD without bonus tracks like me will be complaining for having only 37 minutes of playing time which does not suffice to include major tracks from studio albums. Moreover, the time is marred by addition of cover track like "Kick out the jam" that leaves fans willing for more own material. For more casual listeners of BOC, both greatest hits are included on the CD. I am fan of their more progressive cuts so I feel happy about "Astronomy" at its 8 minutes. A good but non-essential album. Their previous live album from 1975 is rawer and importantly, longer.

     Spectres by BLUE 諽STER CULT album cover Studio Album, 1977
    3.37 | 137 ratings

    Blue 謞ster Cult Prog Related

    Review by sgtpepper

    3 stars Godzilla is a trademark song full of catchy riffs and easily readable note, far from the usual complexity of BOC. Fortunately, not too much is sacrificed to give away this radio-friendly song. Guys have matured significantly with their vocal harmonies and that is one of the highlights. I prefer other songs on this album that have a bit more substance which are still up to BOC standards. "Golden age of leather" has excellent vocal harmonies and good drum fills, a good energetic song. "Death valley nights" reminds us of a harder edge that BOC previously had but "R U Ready 2 Rock" still beats it with simple but effective riffs and elaborate vocals. "Fireworks" has focus on well matching vocals and catchy melody - remotely the chords remind of "Don't fear the reaper". "Goin' through motions" could be attributed to a R&B/Soul artist and BOC did a great job by arranging it in the way. "Nosferatu" is the only song that has hints of prog-rock ambitions due to its guitar/drum complexity and multiple changes in the song. Let's also mention mellotron. All elements brought to the BOC perfection, a track to get addicted to.

     Boat On The River by STYX album cover Singles/EPs/Fan Club/Promo, 1979
    2.00 | 2 ratings

    Boat On The River
    Styx Prog Related

    Review by Matti
    Prog Reviewer

    2 stars Styx has never really been among my favourite bands, but I have known (and to some extent, listened to) them since my teen years. Since no one has yet said anything about this single, here I go. 'Boat on the River' is one of the best known Styx songs, and it's on the 1979 album Cornerstone. It's a folky ballad written and sung by Tommy Shaw, whom I consider much better singer than Dennis de Young.

    Especially for Finnish people this is a very familiar song: in 1993, a highly popular singer Riki Sorsa had a big hit with the Finnish language cover 'Joki' (= River) which is still occasionally played on the radio, sadly more so than the Styx original. But fewer Finns remember that Taiska, a popular female singer of the late 70's - early 80's schlager scene, made a cover already in 1980, called 'Aamulla yksin' (= Alone in the morning). It's no wonder the song was "adopted" to Finland, since its very accessible, melancholic and nature-loving mood somehow fits the Finnish personality like a glove to hand.

    The B side has a shortened version of Dennis de Young's rock ballad 'Come Sail Away', originating from Grand Illusion (1977). I don't much like his tight and slightly syrupy voice in this song which isn't so great as a composition either, but it has a nice synth-centred instrumental section.

     Agents Of Fortune by BLUE 諽STER CULT album cover Studio Album, 1976
    3.21 | 187 ratings

    Agents Of Fortune
    Blue 謞ster Cult Prog Related

    Review by sgtpepper

    3 stars Agents of Fortune was quite a departure from bold, ambitious, authentic and adventurous previous records. The band was maybe trying to get higher financial return while not losing their credibility. Guitars are still main element in the sound but better balanced by keyboards, which is not necessarily a bad thing. More polished sound is not only due to array of keyboards but also less pondering and less busy drumming. Vocals and compositional qualities remain high; progressive tendencies are almost gone but let's acknowledge small addition trumpet and saxophone. Instrumental parts in songs are still very pleasant. "Don't fear the reaper" is the most famous cut due to its easy going melody and catchiness but miles away from being their best song, I found the main section even a bit boring and simplistic but the middle section with keyboards and wailing guitar save the day. "E.T.I" finally brings some heavy riffing inside, it's a relatively slow song but thankfully enough for a great guitar solo. "Sinful love" is a prime example of band's updated sound with funkier more commercial appeal and more polished guitars. "Tatoo vampire" is a high-quality punk infected song and as heavy as it could get in 1976. "Tenderloin" is one of few songs where keyboards and bass dominate over guitars. "Debbie Denise" sounds like a love song and has a great melody including acoustic guitars, too. A nice addition to BOC discography.
     Secret Treaties by BLUE 諽STER CULT album cover Studio Album, 1974
    4.18 | 274 ratings

    Secret Treaties
    Blue 謞ster Cult Prog Related

    Review by sgtpepper

    4 stars One of BOC masterpieces where their talent and skills soar to the sky. Compositionally, these folks are miles ahead many other hard rock bands. Finesse in arrangements and music palette are astonishing. For prog-based fans, this is the album to dig into even though only remotely related to pure prog-rock, ambitions, sound and concept following point to some prog-rock influence in this album. The album is lighter than two previous albums. The first track is one of the most known BOC songs with melodic guitar lines, organ and killing melody. The second track is surprisingly light but there are other things to compensate: I like the part where the singer sings like Dylan and drums become more dynamic. Extensive guitar duett paired with electric piano are appeal to me. "Dominance and submission" sounds more like being from the first heavier albums with simple chords, it is as close to traditional hard rock as it can get. The song to hear when driving. Give nod to the drummer and his often changing rhythmics. "ME 262" is a straightforward rocker with metallic riffs while "Cagey Cretins" is notable for its vocals, shouting and multilayered but also harmonies. The end is marked by two highlights that have progressive hints. "Flaming telepaths" features background harmonies and a synth solo but equally good piano licks! "Astronomy" is one of the most ambitious song by BOC, the sound reminds me of acoustic Led Zeppelin or Uriah Heep. Keyboards. Killer riffs and melodies with ample guitar soloing provide enough fun until the end. Mellow parts with organ/piano give additional complexity.

    A great album and the only pure excellent addition to prog rock music collection by BOC.

     Tyranny And Mutation by BLUE 諽STER CULT album cover Studio Album, 1973
    3.47 | 180 ratings

    Tyranny And Mutation
    Blue 謞ster Cult Prog Related

    Review by sgtpepper

    3 stars The first concept album by Blue Oyster Cult of two dipols, as evidenced by colour side names, album name but less in its music. Playing got more refined, the sound developed - can you notice traces of punk that would emerge in a few years and slightly jazzy chord sequences that the band ventured in occasionally? Good old ingredients such as American late 60's spirit and creative arrangements remained in place. The first song is quite pondering, heavy; although chords may be simplistic, bass guitar playing and guitar duels are pleasant. The second song shows that harmonies are not a strange word in band's vocals. "Hot rails to hell" has an ominous riff and plenty of great guitar arrangements be it soloing, colouring or psychedelic textures. "7 screaming diz-busters" is an excellent progressive hard rock epic with jazzy introduction a la "Made in Sweden" and folky parts combined with rawer rocking ferocious playing. Apart from usual guitar tandem, advanced psychedelic organ pyrotechnics comes in. "Wings wetted down" has a great melody and slightly doomy riff. "Teen archer" is another classic metal sounding BOC track that still manages to sound warm thanks to vocals. The last track has an anthemic chorus and slight experimentation with guitar riffs. Highly recommended for all rock fans that like ambitious records.
     Blue 謞ster Cult by BLUE 諽STER CULT album cover Studio Album, 1972
    3.41 | 183 ratings

    Blue 謞ster Cult
    Blue 謞ster Cult Prog Related

    Review by sgtpepper

    2 stars The debut album is a very impressive one and shows the playing and especially compositional maturity by all band members. You hear clever late 60's influence from both England and US, folk music, hard rock. Guitar playing is most memorable of all but vocals are also quite advanced. Well, what else could you expect from 3 guitars in the mix? Songs are memorable with good twists and hooks but do not reveal as much depth as on later albums. There is little for a progressive rock fans to get hooked to since it is a very good rock records without high sophistication. Recommended to band fans and rock admirers with open mindset.
     Black Diamond by GROUNDHOGS album cover Studio Album, 1976
    3.73 | 11 ratings

    Black Diamond
    Groundhogs Prog Related

    Review by Sagichim
    Special Collaborator Honorary Collaborator

    4 stars This is the 10th album by the legendary blues rock band Groundhogs, released in october 1976. While the band became moderately familiar in rock circles at the early 70's thanks to albums such as Split, Thank Christ For The Bomb and Hogwash, they never really managed to break through that glass ceiling. I believe this has to do a lot with the band lacking a charismatic singer, although I do enjoy Tony Mcphee's unmelodic and dry vocals which I always thought was a rougher version of Mark Knopfler, he wasn't exactly FM material to say the least. More over their sound had always been a bit muddy and rough around the edges for it to be accessible. Unfortunately the mid 70's brought even less interest in the band, 1976 was the year of their last recordings until they came back in 1985, they've released two albums, Black Diamond and Crosscut Saw before calling it quits. That was a real shame since those albums saw them take an even more mature, adventurous approach and a fresh new sound. In the early 70's their style was rooted heavily in blues rock, but after a while the band gradually began spicing things up with a mild psychedelic hazy kind of rock. Mcphee's guitar sound also started to change and by the mid 70's became monstrous, adding more sound effects and a brighter tone. The line up is pretty much the same as in previous Crosscut Saw, except for Rick Adams replacing Dave Wellbelove on guitar, again I'm not sure why Mcphee felt the need to include another guitarist. Like previous album, Groundhogs updated production is far superior to their early 70's albums, I must admit with Martin Kent and Mick Cook on bass and drums the band sounds tighter than before, they are doing a great job throughout the album.

    From the first notes of the jubilant opener Body Talk you know you're into something bigger, Cook's drums are in your face, and the balance between everyone is just perfect. Mcphee's guitar is more present than before, he uses more layers to enrich the sound, and it does sound fuller unlike previous albums on which the guitar parts were a bit more modest like it is customary in old blues records. I love what he's done with the effects, I don't know what he's using but his spine tingling guitars sounds brighter and fresher but also raw and fuzzy like a steamroller chasing you. While the band never tried to go for prog rock at all, this might appeal to fans since the arrangements while still confined in basic structures are still interesting on their own. The songwriting is really good, his updated mix of blues and rocky guitars has come to perfection here, all songs are propelled by a strong riff or idea and perfectly executed. Tony of course is the main man here especially when he lets loose and goes out on his killer solo parts. The super groovy Live Right, Country Blues, Body Talk, well everything actually has some kind of a wild exhilarating twisted solo.

    As I mentioned before their material has a more rocky approach, their blues influences are toned down a bit, it is always there to some extent and in some cases are more evident. Check out Fantasy Partner which is one of the best songs on the album, with its infectious groovy blues lead, Tony's vocals are great as well especially in that beautiful chorus. There are all kinds of different guitar parts flying around boasting with distortion backed up with a synthesizer for a good measure, great piece. Friendzy enjoys a shift of gears in the middle and goes into another boogy blues tinged riff which slides into the beautiful short instrumental of Pastoral Future, fantastic really. The closing piece Black Diamond sums up the album nicely with Tony sounding as most melodic as he can get, the song of course wouldn't be perfect without another mesmerizing solo.

    So this is a different Groundhogs album if you're looking to try something fresh from the band, it is a personal favorite of mine although other albums are just as good as this one. I'd say It's a good album to start with and definitely worth your while if you're already a fan. Rounded up a bit to a well deserved 4 stars.

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