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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 01/22/2017

kev rowland (Kev)
Evolver (Scott)
tszirmay (Thomas)

Crossover Prog Top Albums


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

4.32 | 1180 ratings
OMMADAWN
Oldfield, Mike
4.31 | 1416 ratings
CRIME OF THE CENTURY
Supertramp
4.29 | 1822 ratings
THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)
Wilson, Steven
4.28 | 1265 ratings
HAND. CANNOT. ERASE.
Wilson, Steven
4.21 | 1613 ratings
GRACE FOR DROWNING
Wilson, Steven
4.22 | 890 ratings
DOOMSDAY AFTERNOON
Phideaux
4.20 | 771 ratings
PETER GABRIEL 3 [AKA: MELT]
Gabriel, Peter
4.17 | 941 ratings
ENGLISH ELECTRIC (PART ONE)
Big Big Train
4.20 | 496 ratings
~
iamthemorning
4.17 | 764 ratings
SNOWTORCH
Phideaux
4.18 | 670 ratings
THE UNDERFALL YARD
Big Big Train
4.17 | 714 ratings
DAYS OF FUTURE PASSED
Moody Blues, The
4.13 | 537 ratings
NIGHT
Gazpacho
4.09 | 1039 ratings
TUBULAR BELLS
Oldfield, Mike
4.35 | 83 ratings
THE EDGES OF TWILIGHT
Tea Party, The
4.21 | 150 ratings
THE SHAMING OF THE TRUE
Gilbert, Kevin
4.12 | 368 ratings
HOUNDS OF LOVE
Bush, Kate
4.13 | 323 ratings
SPIRIT OF EDEN
Talk Talk
4.20 | 155 ratings
LOVE REMAINS THE SAME
Von Hertzen Brothers
4.08 | 750 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

FOLKLORE
Pez
ABBANDONO DEL TEMPO E DELLE FORME
J'Accuse..!
PRE-EMPTIVE FALSE RAPTURE
Chrome Hoof
CORPUS
Talisma

Latest Crossover Prog Music Reviews


 Son by OBIYMY DOSCHU album cover Studio Album, 2017
4.85 | 4 ratings

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Son
Obiymy Doschu Crossover Prog

Review by mbzr48

5 stars

This is my 1st review ever on this website, I just don't like to write reviews even though I listen to an enormous amount of albums all the time (about 500 a year!) 2017 is shaping up to be the very best prog year ever at least for me, case and point I gave this year to 40 albums 5 stars (I have a list) and here is the latest 5 stars album review!

I came across this amazing band from the Ukraine about couple of month ago when someone brought to my attention this band and their 1st album from 2009 called "Elehia" I listened to few tracks on YouTube and was stunned, on this web site they got 13 ratings and 6 of them are 5 stars, how come more people didn't hear about this amazing band, including myself? I ordered the CD "Elehia" and was blown away by the whole album!

Fast forward to the new album "Son" arriving November 17th, I contacted the band and received a copy from them and this is going to blow your minds away... The album has been mixed by Bruce Soord, It's 72 minutes of complex, hauntingly beautiful, poetic rock music with lush string arrangements and songs perfected over a decade! 15 musicians including a string quartet, 10 sound engineers, 200 hours of recording in 7 different studios and more than 8 years since the debut album. These are pretty unusual numbers for the Ukrainian music scene, but it barely scratches the surface of how much effort, sacrifice and love for progressive music it took for Obiymy Doschu to finish their epic second album "Son" ("Dream").

There are 3 instrumental songs (5,7,10) I gave all the songs 5 stars other than (6,10,11) 4 stars only, judge yourself. If you don't try and listen to this band, you are missing a wonderful experience, 2 albums... both 5 stars how can you go wrong? the lyrics are in Ukrainian so if you don't understand the words (I don't) the music will compensate you 10 times fold! A VERY HIGH 5 STAR ALBUM!!!

 To The Bone by WILSON, STEVEN album cover Studio Album, 2017
3.65 | 271 ratings

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To The Bone
Steven Wilson Crossover Prog

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

4 stars The last several years have seen British multi-instrumentalist, songwriter and producer extraordinaire Steven Wilson well and truly leave his Porcupine Tree past behind him and gradually hone a rewarding solo career that's been a mix of welcome experimentation and reliable expected moody alt-rock with lashings of both modern and retro-flavoured prog-rock. His last full studio album, 2015's `Hand. Cannot. Erase' delivered a mix of melodic tunes with experimental rock instrumentation that served as a good foot in the door for newcomers both young and older, so perhaps it was little surprise that Wilson might reign back his indulgences even that little bit more to capitalise on this fresh outside interest on a future recording. He's an artist that has managed to build great credibility and an elevated status but who can still fly under the radar just enough to allow himself to indulge in works like this, 2017's `To the Bone'.

Fuelled by THAT cover art, an early press release that proudly proclaimed the album as a pop work, a bouncy jangly pure-pop first single that had most of the prog-rock fans racing for the hills (and it's probably quite surprising that it wasn't a self-titled disc), `To The Bone' was instantly hit with the dreaded `sell out' tag and dismissed as career suicide. But careful and patient repeated listens reveal an album that has much merit, with plenty of the usual smart art-rock and blending of styles already associated with the artist...as well as some rather (slight!) disappointing surprises.

First issue to address: `To The Bone' is NOT a pop album, even if it has several more obviously poppy moments scattered throughout it. Nor is it so far removed from prog-rock as to be unrecognisable, and if anything many parts wouldn't have sounded out of place on mid-period `Stupid Dream/Lightbulb Sun'-era Porcupine Tree with their indie-rock crossover appeal. It's just that where his former bandmates (and even Wilson on his recent solo albums) would likely offering sublime instrumental passages, here Steven usually works in ambitious vocal arrangements of multi-part harmonies instead of show-boating soloing.

On to the disc - Steven and his frequent co-singer Ninet Tayeb open with the title track `To The Bone', a smouldering groover with plenty of ragged guitar soloing and a catchy lyrically defiant chorus, but for an album that many are ready to instantly dismiss as too straightforward or `pop', the piece also drifts into languid enveloping harmonies full of dreaminess in the climax that you sure wouldn't hear on the radio. `Nowhere Now' is just a great uptempo poppier tune that finds Steven in great spirits with a loved up and freed chorus. But the first `wow' moment of the disc has Steven teaming again with Ninet for `Pariah', a tender ballad that has already drawn comparisons to Peter Gabriel and Kate Bush's `Don't Give Up', and along with its weary yet supportive lyric, it also delivers a big bold emotionally charged finale that soars to the heavens with great poise and overall class.

The lyrically pessimistic `The Same Asylum As Before' is powered by punchy drumming and swampy grinding guitars burning around Steven's crooning falsetto, and there's a lovely laid-back interlude in the middle with lightly jazzy flavours to Steven's guitar bursts and some sparkling electric piano. Sure to be a favourite of many of his existing fans, `Refuge' is bookended with a low-key unhurried melancholic introspection and that sad beauty that Wilson has perfected to a fine art over the years, and some carefully executed dramatic lifts give the piece a weight and great tension. After wallowing in brooding contemplation, the `controversial' first single `Permanating' then proves a welcome respite, a buoyant and proudly peppy piano n' falsetto-powered pop burst that not only reveals Wilson's keen honing of strong melodic sensibilities, but is unashamedly comparable in parts to Electric Light Orchestra! Lighten up, people, and just enjoy a cool and (whisper it!) fun pop tune. `Blank Tapes' is then a fragile little ballad interlude of a pristine aching beauty and precious warmth.

Lyrically threatening and instrumentally brash (just listen to Steven's bouncing thick bass pounding away in parts, you'd swear it was Nick Beggs on this one - perhaps it was and there was a misprint in the CD booklet?!), `People Who Eat Darkness' is a relentlessly sleek indie-rocker that is bound to become a live favourite on the tour supporting this album. `Song Of I' is a darkly cool fusion of New Wave and eerie electronica that has Ninet and Steven swapping confessional lyrics over gloomy piano and maddening breathless orchestration.

The longest piece at just over nine minutes is `Detonation', and among its clipping electronic programming, delicate chiming guitars and Steven's purring words that are laced with spite and hostility, the instrumental second half slinks in and out of aggressive blasts, fiery near jazz-fusion-like runs and dreamy shimmering caresses - see, still much here for the snootiest of prog fans! Closer `Song Of Unborn' is a tender piano ballad with exquisite ethereal choir work that replaces gentle regret with reassuring optimism for its smart chorus, and it might not only be one of the most stirring finales to appear on a Wilson/Porcupine Tree disc, but one of his loveliest songs overall.

After all of that, there's little things that do let down `To the Bone' in a few surprising ways. While there's not a truly bad song to be found on the disc, much of what is included can perhaps be considered `reliable', with little that could be placed among Wilson's very best work, even if there's a few occasionally genuinely thrilling moments here and there. It's also a far cry from being the new direction or unexplored area of his sound that was hinted at in the press release, as it still sounds very much like a typical Wilson product, mood and lyrical theme wise. Honestly, the thought of Wilson writing a REAL pop album is more intriguing and daring than many parts of what was included here!

But `To the Bone' is still consistently enjoyable all the way through and can be especially appreciated as a less demanding background listen full of cool tunes and great playing that rarely gives in to instrumental self-indulgence. While it's not one of his best works, it achieves the enviable balance of being able to be enjoyed by existing fans of both his solo work and previous band, as well as being inviting to newcomers and non-prog rock fans (call them `muggles' if you like, prog snobs!), and it still showcases Wilson as an intelligent artist well deserving of his status in both the general music industry overall and as a modern progressive music icon of note.

Three and a half stars for just a great rock album.

 Tunisia: Two False Idols by CRAVEN, BEN album cover Studio Album, 2005
3.56 | 26 ratings

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Tunisia: Two False Idols
Ben Craven Crossover Prog

Review by andrea
Prog Reviewer

3 stars Originally released in 2005 under the name of Tunisia, the debut album by Ben Craven, a talented Australian artist based in Brisbane, was re-released in 2012 as a solo work with a new mix and a different track list. Although in the new version the songs are bound together as if they were part of a long suite, the result is uneven and fragmented. According to the liner notes written in 2012 by the author, ultimately, Two False Idols is a singer-songwriter album first, with prog-rock elements inevitably creeping in. I agree, of course. This is a good album of classic rock with elements of rock'n'roll (Enough About You), rock blues ŕ la ZZ Top (Not Me It's You), calm ballads (Great Divide, If You Knew, Over, Look Away) and a strong leaning to AOR sprinkled with a touch of prog. Some tracks could recall The Beatles (Golden Band) or David Bowie's space oddities (Captain Caper) but there's nothing particularly complex or really memorable that you can find here.

On the whole, this is a pleasant listening for sure but not an essential album in a prog collection.

 Once Hallucination Under God by DEVIL'S DIN, A album cover Studio Album, 2017
4.29 | 5 ratings

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Once Hallucination Under God
A Devil's Din Crossover Prog

Review by raigor

5 stars Released on quality CDs through Island Dive Records imprint, 'One Hallucination Under God' is the third full-length album by Monreal-based psychedelic-rock band A DEVIL'S DIN. It presents a bunch of sensible, playful, and cheerful Retro-Psychedelic songs blending in its own original way influences from various 60-80's Pop, Psychedelic, and Progressive music trends. The trio's songs can excite or contrary loosen up your mind, can pet or scare, but everything here is just for fun. It's a fun journey. Each song here has an individual stylistic shade and demonstrates top-level song-writing and performing skills of the musicians. Arguably, this is the best recording of the band to date. Highly recommended! But be careful, 'One Hallucination Under God' is not a Crossover Prog album! Check out their second album, 'Skylight' or 13-minute digital single 'I'm Freaking Out: The Saga of The Missing Child', if you're searching for more proggy stuff.
 War Is Over by VON HERTZEN BROTHERS album cover Studio Album, 2017
3.90 | 11 ratings

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War Is Over
Von Hertzen Brothers Crossover Prog

Review by rdtprog
Special Collaborator Prog Metal / Heavy Prog Team

4 stars This new album was made on the ground of their childhood in an isolated small island "Söderskär" where each musician participates in the writing process by bringing their own influences. From the 12 minutes opener, "War Is Over" we know we are in the presence of something out of the ordinary. The pace is a like a roller coaster that you can't stop after you have come out of the gate, it gets a little breather with "Who are You" and "Wanderlust". There are many layers of sound, plenty of catchy hook and grooving music with some huge keyboards, incredible guitar hook and on top of that some diverse and impressive vocals. The past reference is from many genres, from alternative rock, classic rock, and prog rock. The band manages to create some direct and captivating music while offering enough complexity to make you want to listen again to make sure you have absorbed everything. You can hear the hard work the band has put on the arrangements with the exotic guitar tones and about how each instrument should sound. After listening to this album, I was unable to say what kind of music it was, listening to "Long Lost Sailor", it's closer to pop music than anything else on the album. But like the band said; "we wanted to make an album that comes from the heart". Yes, that is probably the most important thing...
 Land Animal by BENT KNEE album cover Studio Album, 2017
4.23 | 41 ratings

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Land Animal
Bent Knee Crossover Prog

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

5 stars Boston-based many-dimensional progressive rockers BENT KNEE are back with their fourth album. This one feels less hurried and far more mature than their previous effort, 2016's Say So. This is a band that is not only clicking on all cylinders, it is composing and playing at such a high level that it often takes many listens to hear all of the band member's contributions. That is one reason why this June release only receives my review posting in November.

1. "Terror Bird" (4:11) Great opening song! Opens with a weave of staccato sounds coming from many instruments-- a feature which turns out to be the foundation for all but the choruses when chords and volumes amp up. The use of strings in support in the second section and choruses is a nice effect. Courtney's voice is as dynamic and under- the-skin insistent as ever. Awesome! (9/10)

2. "Hole" (3:21) quirky and industrial, combining some 80s and 90s sound styles with an almost Oriental melodic palette. The music could even befit a soundtrack to a Japanese animation. But, once again, the lead vocal brings us back to Kansas. (or is it Oz?) Another instance where I am dumbfounded and astounded at this band's creative expression. (8.5/10)

3. "Holy Ghost" (5:33) amazing song construction, vocal, and drumming. This band is so tight! (9/10)

4. "Insides In" (6:29) a much more sedate and smooth opening feels and sounds good for a change. Courtney opens with a bluesy/torch song vocal styling--carrying it forward into the chorus--before piano and strings bridge us back to the A section. Strings, piano, and drum incidentals are so marvelous! Such a polished, carefully planned and executed song. This band is so at their peak! I would love to hear more music like this from them. The second half of the song has us waiting suspensefully before a series of dramatically-spaced and wonderfully effective monster hits from guitar, bass and drum bring us fully into the cinematic prog world--which only continues as the music ramps up to a kind of crescendo of sustained tension before collapsing into odd animal-industrial sounds. (10/10)

5. "These Hands" (5:36) opens as if bleeding over from the previous song but then deftly, easily, switches into an entirely different kind of music and song. Pizzicato strings and jazz percussion support Courtney's jazzy piano and vocal. Truly a stunning song of highly complex progressive rock music. (10/10)

6. "Land Animal" (5:13) opens with a very theatric, cinematic pomposity. Vocal chorus joins in the second round, then things quiet down for the entrance of the lead vocal. The quiet spacey "sending out a message" section in the third and fourth minutes is my favorite part. Then a strings-supported true electric lead guitar solo! (A rare thing for this band!) Nice section. (9/10)

7. "Time Deer" (4:19) a fairly straightforward rock start becomes complicated by Courtney's vocal, and the slightly off-center syncopation of the guitars, bass, strings and drums. Interesting. Courtney's vocals are so powerful that I fear that we come to take them for granted: she is always amazing and, I believe, inimitable (and this despite my deafness to lyrics and their meanings). (8.5/10)

8. "Belly Side Up" (4:15) such a different song--could come from the 1940s or 50s with its poppy effects, sharp orchestration, "old" guitar sound, and, of course, "school girl" background vocal choir. (8/10)

9. "The Well" (5:30) a song that, unfortunately, feels like we've heard it before ("Holy Ghost" and "These Hands"). Luckily, I love the sassy-seductress vocal. (A little Piaf?) The second half with its interplay of polyrhythms is very cool.(8.5/10)

10. "Boxes" (12:44) opens like a Peter Gabriel soundscape. Awesome drum, bass, and atmospherics. Courtney's voice enters at her most seductive. The song floats along like as if we're laying in a boat looking at the night sky while riding the softly rolling waters of the lake/harbor beneath us "I made it to the twenty-first century" is such and awesome line! Percussive and tuned and computerized incidentals pepper, dot, and streak the instrumental sky between vocal sections and to the end where Gavin's rock-steady, impeccable beats play out far into the finish. What an awesome song! What an awesome end to the album! (9.5/10)

Five stars; another masterpiece of truly progressive rock music from these young masters of 21st Century art.

 Heat by LION SHEPHERD album cover Studio Album, 2017
4.48 | 8 ratings

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Heat
Lion Shepherd Crossover Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars One of the benefits of having built up contacts over the years, is that sometimes I receive albums that I wouldn't have otherwise have come across. One day I was talking to my good friend and fellow writer Olav Bjřrnsen in Denmark, and he told me that he had a duplicate of the new album by Lion Shepherd, and would I be interested in hearing it. A while later it turned up in the post, and I was impressed even before hearing it as here was fold out digipak that opened out so it formed a cross, with plenty of information on all sides, the booklet pasted into the top section, and the CD in the middle. A lot of effort and money had gone into this, and it is rare for a band to have that much spent on them unless they are quite special.

I undertook some research, and was somewhat surprised to discover that the guys were Polish, based around singer Kamil Haidar and Mateusz Owczarek (electric guitars, acoustic guitars, Irish bouzouki). They were joined on the album by Łukasz Adamczyk (bass), Sławek Berny (drums, percussion), Kasia Rościńska (backing vocals) and Wojtek Olszak (keyboards). The reason I was surprised was that musically this certainly sounds as if its roots are in the UK and the US as well as the Middle East, and I firmly expected the band to come from one of those two countries. They themselves describe their music as a "mix of world music, trance, progressive rock, blues, and Middle Eastern motifs. In addition to traditional European instruments, there is the Syrian oud lute, the Persian santur, and various Indian and Arabic percussion instruments." It is like nothing else I have ever heard from Poland, mixing and melding styles from many musical forms into something that is layered, polished, melodic and almost poppy on the first hearing, but with percussion and underlying musical motifs that transcend any particular genre or culture.

That this album is a masterpiece is never in doubt, that it is firmly one of my albums of the year is also something that isn't even up for debate. Each song brings a new delight, a new style, a new passion, and is one of those where the class and power shines through from the beginning to the very end. I knew it was special when I saw the packaging, I just didn't know how very special it was. This is essential.

 Where We Stood by PINEAPPLE THIEF album cover Live, 2017
3.65 | 13 ratings

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Where We Stood
Pineapple Thief Crossover Prog

Review by rdtprog
Special Collaborator Prog Metal / Heavy Prog Team

3 stars It was almost 20 years ago that Bruce Soord put this band on the map after his adventure with Vulgar Unicorn. On the recording of the album "Your Wilderness", Bruce hired Gavin Harrison of Porcupine Tree to fill the sport on the drums. This decision not only changes the style of drumming on the album but also in the writing process. This live concert has the whole album played in a different order with songs from others albums in between. The music of this band is in the style and spirit of the Kscope label, which is a desire to make a new prog style, modern, kind of post-rock metal sometimes atmospheric with some electronic effects that bring a Radiohead influence. The overall sound and atmosphere recall Anathema and Porcupine Tree. It's a good fun to see the unique Gavin Harrison style of drumming on this concert after seeing him recently with King Crimson. In a short 1 hour and 30 minutes concert and many albums on their discography, you can' t get a boring set list here. But I have to say on the other hand, that there is no standout track for me that reach the greatness of my favorite prog rock bands. I can't criticize the honesty and sensibility of the band here that seems to enjoy their music, but sometimes there is some kind of music that doesn't connect perfectly with you. Despite this, I will give a big thank you to Bruce Soord to have produced this big package with an excellent surround sound not only of the concert, but also the whole "Your Wilderness" album with 8 extra tracks, and more extras. Is Bruce following the steps of Steven Wilson by remixing his own albums and albums of others artists?
 Tardigrades Will Inherit The Earth by MUTE GODS, THE album cover Studio Album, 2017
3.39 | 45 ratings

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Tardigrades Will Inherit The Earth
The Mute Gods Crossover Prog

Review by ProgShine
Collaborator Errors & Omissions Team

2 stars Sometimes a band or project is placed on a pedestal so high even before any music is released, and then, when the album is actually released, the band falls off the pedestal, and it hurts, quite a lot!

The Mute Gods is tagged as 'super trio' of the modern Progressive Rock era with names very well known: Nick Beggs (Steve Hackett, Steven Wilson and Lifesigns), Marco Minnemann (The Aristocrats, Tony Levin and Steven Wilson) and also Roger King. However, when listening to the record it is incredible to note how well-known musicians and pros managed to record an album so anemic and so poorly produced. Amateur would be the first word that comes to mind when I think of the production of the record. And that's the irony of it all.

The instruments are all mixed in a blur of sound and there is not the slightest separation in the frequencies, it seems as if is only one instrument playing, a very messy one, and you're unable to distinguish anything. Even Marco Minnemann, who is a great drummer, disappears in ... Tardigrades Will Inherit the Earth because of the production, any interesting idea that the drummer has was basically destroyed by the production.

Ironic is the fact that the band call themselves The Mute Gods, because that would be the best thing for the trio: being mute! The vocals on this record are just horrible! Either they are terribly bad or they are terribly annoying, there is no middle ground!

You want a good Prog Rock record from 2017? Stay far far away from ... Tardigrades Will Inherit the Earth. There are at least 2555 more interesting bands playing Progressive Rock in 2017!

 Melancholy Man by MOODY BLUES, THE album cover Singles/EPs/Fan Club/Promo, 1970
4.73 | 14 ratings

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Melancholy Man
The Moody Blues Crossover Prog

Review by Matti
Prog Reviewer

5 stars The Moody Blues were an amazing collective of wonderful songwriters (in their classic period 1967 - 1972, that is). To a certain degree the mellotron expert Mike Pinder was left in the shadow of Justin Hayward and John Lodge in that matter. At least his songs were relatively seldom seen as single releases, and in the concerts it probably was even more obvious. 'Melancholy Man' is among the best known songs he wrote and sang for the Moodies, and it truly deserved to be released as a single. The album A Question of Balance (1970) marked a shift towards slightly simpler, less psychedelic arrangements in order to be able to better perform the songs live. I think it was Pinder whose songwriting improved the most at this point. 'My Song' in 1971, 'Lost in a Lost World' and 'When You're a Free Man' in '72, all deeply emotional and meaningful songs. He had a pretty dark view on the world back then, which turned into gorgeous, melancholic songs. After he had moved to California, he made pretty dull and light music in his happiness.

'Melancholy Man' paints a heart-aching picture of deep loneliness. It's quite a vocal-oriented song, in the usual verse/chorus structure, with a little synth solo in the middle. In my opinion it would be totally pointless to miss any proggier edge to it. It sounds so good just the way it is. Especially the final section in which the other members (most audibly Hayward) sing the verse in the background while Pinder reaches the emotional peak in his vocal part -- it's goose bumps for sure.

'Candle of Life', then, is one of the finest songs John Lodge wrote for the band. It originally appeared on the album To Our Children's Children's Children (1969). Also this song is probably on my Top Five of the Moody Blues songs -- and there really are so many wonderful songs to choose from! Of course it would be more interesting if there was a good non-album song on the single's B side. Usually I save five stars to those singles containing at least one non-album track, but this time I'll make an exception. I'm glad to notice that the majority of ratings (without reviews) have done the same.

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Crossover Prog bands/artists list

Bands/Artists Country
17 PYGMIES United States
1974 United States
1O1 United States
3 United Kingdom
3 LEGGED MONSTER United States
3RDEGREE United States
7TH KIND United States
90 DAY MEN United States
A.L.F. Brazil
AARDVARK United Kingdom
AARDVARK' Finland
THE AARON CLIFT EXPERIMENT United States
ABACUS Germany
ABARAX Germany
ABBFINOOSTY United Kingdom
ABIOGENESI Italy
LEE ABRAHAM United Kingdom
ABSENTE H Spain
ABSINTHE JUNK United States
ACANTHE France
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
ALTERNATIVE 4 United Kingdom
ALUX NAHUAL Guatemala
AMAROK Poland
AMAZING MACHINE Norway
THE AMAZING Sweden
AMITY IN FAME Austria
TORI AMOS United States
AMPERA Norway
AMPHETAMIN France
ANALOG MISSIONARY United States
THE ANALOGUE United Kingdom
ANANTA Venezuela
ANAWA Poland
THE ANCHORESS United Kingdom
ANDERSON PONTY BAND Multi-National
LAURIE ANDERSON United States
ANGULART Chile
ANOTHER ROADSIDE ATTRACTION Canada
ANTARES Italy
JERZY ANTCZAK Poland
ANUBIS SPIRE United States
ANYWHERE United States
APATHEIA Czech Republic
APOCALYPSIS Greece
APOGEE Germany
THE APPLE ZED United States
APPLESEED Poland
APPLESMELLCOLOUR Spain
AQUA TALK Turkey
AQUILA United Kingdom
ARCHANGELICA Poland
ARCHIVE United Kingdom
ARCPELAGO Brazil
AREA 39 United Kingdom
ARGENT United Kingdom
ARGO Lithuania
ARID GARDEN Italy
ARNIOE Australia
BRADY ARNOLD United States
TONY ARNOLD United States
ARONORA Australia
THE ARS SUPERNOVA United States
ART BY NUMBERS United States
ART CINEMA Denmark
ART DECO Finland
ARTIFICIAL HOME Latvia
ARTLAND Israel
ARZ United States
AS FOLLOWS United States
AS TALL AS LIONS United States
ASFALTO Spain
ASGARD United Kingdom
ASIDE BESIDE France
ASIMÉTRICA Mexico
ASTRONOMY United States
ASZENSION Canada
ATARAXIA Japan
ATIK MAZE Portugal
ATLANTYCA France
ATMOSPHERA Brazil
AUDIAC Germany
AUDIO'M France
AUDIOCRACY Multi-National
THE AURORA OBSERVATORY United States
AUT' CHOSE Canada
AUTOGRAPH (AVTOGRAF) Russia
AUTOMATIC MAN United States
AUTUMN ABOVE United States
AUTUMN CHORUS United Kingdom
AUTUMN ELECTRIC United States
AUTUMN PEOPLE United States
AUTUMN WHISPERS Multi-National
AUXFORD Russia
AVALON Canada
AVGRUNDEN Sweden
AVIARY United States
AMADEUS AWAD Lebanon
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