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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

4.38 | 1024 ratings
LED ZEPPELIN IV
Led Zeppelin
4.52 | 262 ratings
BLACKSTAR
Bowie, David
4.36 | 725 ratings
QUEEN II
Queen
4.29 | 855 ratings
PARANOID
Black Sabbath
4.28 | 846 ratings
A NIGHT AT THE OPERA
Queen
4.23 | 776 ratings
BLACK SABBATH
Black Sabbath
4.21 | 713 ratings
SEVENTH SON OF A SEVENTH SON
Iron Maiden
4.22 | 599 ratings
ARGUS
Wishbone Ash
4.21 | 578 ratings
THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS
Bowie, David
4.18 | 451 ratings
RISING
Rainbow
4.13 | 669 ratings
POWERSLAVE
Iron Maiden
4.11 | 658 ratings
MASTER OF PUPPETS
Metallica
4.15 | 430 ratings
HUNKY DORY
Bowie, David
4.10 | 675 ratings
SABBATH BLOODY SABBATH
Black Sabbath
4.08 | 535 ratings
RIDE THE LIGHTNING
Metallica
4.15 | 288 ratings
SCARY MONSTERS (AND SUPER CREEPS)
Bowie, David
4.05 | 773 ratings
PHYSICAL GRAFFITI
Led Zeppelin
4.05 | 665 ratings
MASTER OF REALITY
Black Sabbath
4.17 | 218 ratings
SECRET TREATIES
Blue Öyster Cult
4.03 | 839 ratings
LED ZEPPELIN
Led Zeppelin

Latest Prog Related Music Reviews


 Rock And Roll Machine by TRIUMPH album cover Studio Album, 1977
3.46 | 36 ratings

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Rock And Roll Machine
Triumph Prog Related

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

4 stars TRIUMPH, the Canadian power trio of Rik Emmett (vocals, guitar), Gil Moore (drums) and Michael Levine (bass, keyboards) followed up their debut just a year later with their second release ROCK & ROLL MACHINE which at first was released only in Canada but due to increasing popularity they scored an international recording contract with RCA and then soon after MCA Records. Unfortunately the album was released with one album cover and track listing for the Canadian release and another for a global market with even a few tracks donning completely different titles. Obviously this has led to a ridiculous amount of confusion over the years as one version even went as far as mixing several tracks from both the debut and this album under the title ROCK & ROLL MACHINE. Thankfully this marketing faux pas has been corrected with the newer remastered albums at last donning the original superior album cover with the band's profile in the space sphere as opposed to the cheesy neon lit guitar and sparkles under the band's logo.

While no sophomore slump haunted the band, comparisons to Rush certainly did however ROCK & ROLL MACHINE successfully sounds like a foray into their own world of bluesy hard rock with more idiosyncratic heavy riffing which would become the trademark sound of Gil Moore's songwriting contributions . Also debuting is the classic AOR ballad sound that would showcase Emmett's powerful vocal style on "Bringing It Home" and "New York City Streets - Part 1," a style that would yield them their biggest hits in the future. As with the debut, TRIUMPH also continued their dabbling into the progressive rock world as heard on the ambitious fusion frenzy of "City: War March / El Duende Agonizante / Minstrel's Lament" which would hijack a sampling from Gustav Holst's "The Planets" as well as display a superb Spanish classical guitar workout by Emmett. The beginning thunderous march actually brings Rush's progressive works to mind (think "La Villa Strangiato") as well as showcasing a percussive rhythm workout that would find a home on Dream Theater's "Images And Words" album a decade and a half down the road. Worth mentioning is the second part of "New York City" with its jazzy guitar segments and genre shifting restlessness.

Also of extreme importance is the fantastic title track finale which jumps back into the hard rock arena and pumps out the heaviest track on the album with one of the best heavy rock guitar solos the 70s had to offer displaying Emmett as not only a gifted vocalist but a bona fide virtuoso guitarist of the first degree. This track would remain a staple of live performances and remains one of the most memorable tracks of TRIUMPH's entire career. The only track that is a misstep to my ears is the ill-placed Joe Walsh cover "Rocky Mountain Way." While i absolutely adore the original and Walsh's music in general, there is something just so wrong when it's performed without his distinct vocals at the helm. TRIUMPH does a veritable job but it really seems like a fish out of water on this release. The only other gripe i have is that the beginning heavy guitar riff on "New York City Streets - Part 2" sounds too much like Edgar Winter's "Frankenstein." Other than these quibbles, TRIUMPH produced one of their best albums of the 70s. ROCK & ROLL MACHINE is an excellent collection of hard rock, power pop and prog related treats and not a bad place to check out what made them stand out. Be sure to track down the album with the original listing as it is the superior format as well as the intended one.

 Kill 'Em All by METALLICA album cover Studio Album, 1983
3.39 | 419 ratings

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Kill 'Em All
Metallica Prog Related

Review by martindavey87

3 stars Full of energy and pulse-pounding riffs, this is Metallica's debut album with which they changed the heavy metal world back in 1983. Although the songs are a lot more immature than Metallica's later material, in both lyrical and musical content, the songs are still great if you're after a straight forward headbanging album from start to finish, with many of these songs still being a major spotlight of any Metallica live set today.

Although some tracks are weaker than others, the album as a whole runs smoothly without giving the listener a chance to catch their breath. Metallica classics such as 'Seek and Destroy', 'The Four Horsemen', 'Hit the Lights' and 'Whiplash' make this essential for all metal fans.

It won't be your favourite Metallica album, but your metal collection won't be complete without it.

 Cracked Actor (Live Los Angeles '74) by BOWIE, DAVID album cover Live, 2017
5.00 | 1 ratings

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Cracked Actor (Live Los Angeles '74)
David Bowie Prog Related

Review by Warthur
Prog Reviewer

— First review of this album —
5 stars With a limited vinyl edition released for 2017's Record Store Day followed by a 2CD digipack, David Bowie's estate graces us with a long-overdue official release of this much-bootlegged live set. Legendary in part for being partially captured on the Cracked Actor documentary film by Alan Yentob, which captured Bowie in the process of spiralling into the cocaine addiction that nearly completely derailed him in the mid-1070s, this release sets itself head and shoulders above the bootlegs by a fine mastering job at the hands of Tony Visconti.

Though recorded a couple of months after David Live, the concert featured a markedly tweaked lineup, which combined the soul experimentation of the Philly Dogs tour with an evocative torch song aesthetic and a brief return of the glam rock fire that Bowie was trying to work beyond. The end result is perhaps the most sonically interesting of Bowie's work from his soul experimentation phase, particularly since the concert takes place just after The Gouster was wrapped up but before it got reconfigured into the Young Americans album we now know and love - It's Gonna Be Me and John I'm Only Dancing (Again) are both present in the setlist, for instance.

As a revelation of how quickly Bowie was evolving even from month to month during this time period, it's priceless - but the CD digipack version is actually a very reasonably priced budget release. Highly recommended.

 The Elephant Man's Alarm Clock by BUCKETHEAD album cover Studio Album, 2006
3.92 | 7 ratings

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The Elephant Man's Alarm Clock
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

4 stars As the year 2006 rolled on, the strange artist known as BUCKETHEAD was releasing multiple albums per year with his 17th overall solo offering THE ELEPHANT MAN'S ALARM CLOCK as the first of three for the year. Yet another album recorded in The Slaughterhouse with Dan Monti and Albert lending a hand in the production process as well as Del Rey Brewer contributing some of the songwriting of the all instrumental three quarters of an hour long plus experience. There are a few scant words uttered by Bootsy Collins. As any true BUCKETHEAD fan knows, there are a gazillion different styles of his playing ranging from the sappy slow and melodic resulting in utter gagdom all across the spectrum to the most convolutedly complex weirdness every recorded, at least on Earth. THE ELEPHANT MAN'S ALARM CLOCK has become one of the more popular albums in BH's early egg laying days for it fits on that wide spectrum somewhere in the middle of the extremes with highly accessible melodic approaches nestled in all of the avant-garde weirdness we've come to expect.

The combo effect of funk and metal has always proven to be a strong suit for Mr BH and there is plenty of both on this energetic release that provides ample amounts of head banging fury along with the expected avant-guitar solos while funk bass rules the roost for significant chunks of playing time and bandmate from Praxis in the form of Bootsy Collins even makes a cameo appearance on "Bird With A Hole In The Stomach" where he adds a monstrosity of a space bass solo at the end. An unusual feature for BH at this point anyway is the four part "Lurker At The Threshold" which is a dedication to H.P. Lovecraft. While it may sound like a prog behemoth in writing, all four tracks clock in under ten minutes and go through several BH styles such as slow and mellow melodic introducing features that slowly ratchet up the temp ladder with funk guitar, heavy distorted riffing and guitar solos.

The track "Droid Assembly" is worth mentioning as it has that classic detached groove that i could totally envision BH doing his famous dance to. The electronica based drum sound is followed by a series of angular avant-garde-isms that create a unifying factor of danceability while avant-prog guitars and bass lines flounder all over the place. The cutely named "Fizzy Lipton Drinks," a reference to the 1971 film "Willy Wonka & The Chocolate Factory" starts out with an industrial metal type of groove but quickly becomes one of those riff and solo numbers but also jumps into an avant-parade of strange riffs, grooves and guitar squealing as if a pig were sacrificed in the making of this production. Unfortunately the track ends with an annoying bout with silence before a *hidden track* appears. I hate these but was a very nought-y thing to do in the early years of the millennium. After enduring a forced period of meditation we finally get a total funkified only affair with Bootsy Collins making a return and BH adding some counterpoint guitar licks which goes on for a few minutes allowing the two to really get down and dirty.

THE ELEPHANT'S ALARM CLOCK is yet another excellent album in the early BH years when he was only getting started releasing multiple albums per year. While many tout this one as one of his absolute best, i find it a little repetitive at times and doesn't come close to the mind blowing diverse elements and avant-grooviness of album's like "Monsters And Robots." After all, "normal" is for mere bands that didn't obtain their strange and otherworldly powers in chicken coops. This album is nonetheless a great introductory work to BH's overall early works and a mandatory edition for those more into his less adventurous and more in tune with melodies and established rock and metal elements in music. It's certainly an excellent album even if it doesn't rank high in my own personal world but one thing IS for sure and that is that it is indeed a captivating listen throughout its entirety.

 The Mission by STYX album cover Studio Album, 2017
4.11 | 18 ratings

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The Mission
Styx Prog Related

Review by gr8dane

4 stars Styx on a mission. What a nice surprise we got here.Styx making a concept album about the first manned mission to Mars. If you were not a fan of Styx before,I am sure this won't change your mind.But if like me, you were along for the ride in the 70ies,this is a fantastic album.For me the Equinox-Pieces of 8 were fantastic.(Also love the Wooden Nickel era.). There is only one pumping rocker like Miss America and Queen of Spades,the 2 minute scorcher Gone Gone Gone and no sappy ballads like Babe and such.Everything in between here and very well produced and sounding excellent. Harmonies galore,lots of guitars ,heavy drumming and great keys.The sound of Styx is alive and well.I am not going to do song for song here,there is always you-tube for sampling. I really hope they will play this whole album on tour.It's absolutely worth it. Welcome back boys.
 Only Time Will Tell by ASIA album cover Singles/EPs/Fan Club/Promo, 1982
3.14 | 5 ratings

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Only Time Will Tell
Asia Prog Related

Review by Guillermo
Prog Reviewer

3 stars A single from 1982 from which I read a review in a newspaper in the same year. If I remember well, the reviewer liked the "Asia" album a lot (the same as me) that he also bought this single because it had in the Side 2 a song ("Ride Easy") which wasn't included in the "Asia" album. I also looked for this single in some record shops in my city...without success because maybe it was an imported copy and it wasn't released in my country! (a thing that I never really knew). Anyway, it was until I bought the "Asia Gold" (2005) 2 CDs compilation in late 2008 that I finally listened to "Ride Easy" in its studio version.

Well. This single has in the Side 1 a song from the "Asia" album called "Only Time Will Tell", composed by John Wetton and Geoff Downes. It is really a Ballad with very good arrangements, particularly with very good guitar arrangements and playing by Steve Howe.This song was successful and had some radio playing in some radio stations in my city. It even was used in a TV ad some time later. It is really a more Pop Rock song with very few Prog Rock influences. That was a thing which made some Prog Rock fans "hate" this band. It wasn't my case.

In the Side 2, there is "Ride Easy", composed by John Wetton and Steve Howe. It is another Pop Rock song from this band with some Prog Rock influences. Maybe the most Prog Rock influences in this band came from Howe's songwriting contributions and guitar playing. Before the band played this song in concert, Wetton introduced the song to the audiences, with him saying that this song was one of his favorites and that it was one of the first songs that Howe and him wrote for the band. I don't know why this song was finally destined to be in the Side 2 of this single. It is a very good song.

If I remember well I bought the "Asia" album on LP in mid June 1982... thirty five years ago. It still brings good memories to me.

 Argus by WISHBONE ASH album cover Studio Album, 1972
4.22 | 599 ratings

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Argus
Wishbone Ash Prog Related

Review by cedo

4 stars I'm not sure was it "Argus" or was it "Wishbone Four" the first Ash's album that I have listened to, in 1976-1977, thanks to good friend of mine who came back from UK, from English Language Summer School, with a couple of great LPs, but never mind, from that time till now, "Argus" has remained one of my favorite albums. Like in the cookbook, add to it Thorens turntable, huge Marantz cassiver (receiver with incorporated cassette tape module), and Acoustic Research loudspeakers, and love at first listen is born. So, at very first listen, it grabbed me and that grip is still firm. Twin-lead guitar sound, very nice melodies and harmonies, three "warriors" tracks that make some kind of concept, songs that have original structure, different from usual radio hits (most songs structure are not usual, without classic verse-verse-refrain-verse-refrain-solo form, and that also contributed to the progressive feel of album).

Every song is memorable, unique and fresh, nothing like something that is heard before or after. Later I have listened to other albums of MK I, and albums of Mk II, had opportunity to see Mk II live on "Just Testing" tour, and Mk IV on "Twin Barrels Burning" tour, but "Argus" stayed most loved and listened to. Other albums of Mk I are also great, so are "There's the Rub" and "No smoke without fire" of Mk II, each of it containing great songs, epics and concert favorites, but "Argus" was successful in making the album with most progressive parts, some of them thematically connected, which other albums lacked of, as a collection of unrelated songs.

First side is generally of life and love themes, while most of second side is of war oriented songs. The best A side song is "Time was" with beautiful acoustic intro, moving into hard rocking body where guitarists showed their pyrotechnic capabilities.

B side starts softly with one guitar playing rhythm, the other playing theme, accompanied with melodic bass line, all three building atmosphere of waiting for something to happened, raising a sound level slowly, and it really does, turning into most memorable guitar riff of all Wishbone Ash songs. And when lyrics comes, with "in the fire, the king will come", you are conquered and you surrender unconditionally. Song also has nice quite gentle intermission, that once again leads into famous guitar riff, moving to effective end. After "King will come", there comes beautiful ballad "Leaf and stream", some kind of contemplative thoughts of dreams and world beyond reality. And then again, return to warriors thematic, with two connected songs, first telling about the urge to fight for freedom, and second about a need to laying down the arms, cause in war no one wins and everybody lose. "Warrior" has interesting structure, starting with calm two verses melody, changing into strong, several times in a row repeated refrain, each time with differently played in-between connection, while "Throw down the sword", the only song with keyboard support, has beautiful twin guitars intro, leading into strong ballad, finishing with great guitars soloing, each guitar simultaneously leading its own solo, merging into one at the end. Excellent!

The album is produced by Derek Lawrence, who did a great job (he also produced their previous two albums, and later "No smoke without fire"), and engineered by Martin Birch (who later worked with Deep Purple, and especially with Iron Maiden where that recognizable twin-lead guitar sound can be heard). The cover art is on the same lane with music, with famous Argus guardian watching over.

The songs are positioned on sides A and B in a way that first is more rockier, while the second is more progressive. The only complaint that I have is that maybe songs on B side should have been slightly different ordered. I think that "King will come" must be placed right before the "Warrior", to make great three songs story of war and peace. "Leaf and stream" somehow calms down the continuity of most progressive part of album, and my opinion is that this song should have been first on side B. Luckily, on CD player is easy to enter wished song order, so everyone can make his own (mine is 1-2-3-5-4-6-7).

I got two versions of LP (one gate-folded, one just sleeve), and 1991 MCA CD reissue with B-side bonus track "No easy road", but that song is somehow out of context here, it just doesn't fit. Maybe the best choice is to find 2002 MCA remaster with whole three tracks rare live 1972 EP "Live in Memphis" as a bonus, with excellent 17 minutes performance of "Phoenix" epic from first album. There is also 2007 2CD Universal remaster, with aforementioned B-side track and unfortunately only partial live EP (without "Jail bait") on first disc, but with various live performances from "Argus" time on second disc.

In recent times, the second fraction of group, Martin Turner's Wishbone Ash made excellent studio re-recording of complete "Argus" named "Argus through the looking glass" (2008) placing song "Blowin' free" as the last on disc (eventually it was supposed to be so in 1972, but LP format was a limited factor), followed by complete live version "Argus 'then again' live" (2008) by Andy Powell's fraction of band, and again by complete live performance by Martin Turner's Wishbone Ash on "The Life Begins tour" 2CD (2011). So we have four versions of "Argus" so far, two studio, two live, as a sign how much that album means to its creators (and to 'Ashers').

Regarding the first rockier album side, a kind of inappropriate place of "Leaf and stream" song on excellent more progressive B side, a fact that this is primarily a progressive rock archive, and that I am very fond of Wishbone Ash's music, bright shining four stars is something that I stand for.

 Inbred Mountain by BUCKETHEAD album cover Studio Album, 2005
3.77 | 7 ratings

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Inbred Mountain
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

4 stars At the closing of the year 2005, the artist known as B-U-C-K-E-T-H-E-A-D released his 16th studio album INBRED MOUNTAIN on Travis Dickerson's fledgling label TDRS Music and continues the mega weirdo hybrid experimentation procedures that had been occurring throughout the chicken lover's heeeeeeeeestory

Experimental music expanded after "Kaleidoscalp" and much furr-thurr into the wEEEEEEIIIIIIIIIIrd and wild musical west as guitars gallop, bass lines bounce, percussive drumbeats detonate and riffs raucously reverberate around a series of sensational sonic possibilities

It's just WEEEEEIIIIIIIIIIRRRDDD i say! Funk guitars mix it up with metal. Flamenco prances where it doesn't belong. DJ electronic percussion beats get all dope in the most inappropriate ways while strange new hitherto possibilities

come

across

as

freakin

WEEiiiirrr D D D

! 1 ! ! ! 2w19 ! ! 1 ! !1 ! !

everYthing CANbhrd hear

there are nursery rhymes: 3 blind mice (1ST track] there is traditional metal chords and riffs [evREEwear) there is funk and soul there is

Basically this is a brilliant excogitation of many elements of music intermingled and forced against their will to perform unthinkable acts together that should be illegal in many states and provinces around the globe but the laws simply haven't kept up with the perverted masterminds of musical prowess who insist on forcing different musical genres to get it on in the most unorthodox procedures and in the process create a vortex into unthinkable alternate realities

OMG! Love it i do but not his best, but excellent non the incest (INBRED MOUNTAIN woo hoo ˙©?´

oh and BANJOS occur?.. yes they occur in strange fashion . sTRANge inDEEd inDID in.Idoh4

 Triumph [Aka: In The Beginning] by TRIUMPH album cover Studio Album, 1976
2.69 | 22 ratings

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Triumph [Aka: In The Beginning]
Triumph Prog Related

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

3 stars Personally i think the band TRIUMPH is a tad underrated in the footnotes of history and part of this reason is that they get tagged as a Rush wannabe band and to be honest the comparisons are quite warranted in many ways. First of all, they were a power trio consisting of a bassist and keyboardist (Mike Levine), drummer (Gil Moore) and while in this case it was guitarist who was the lead singer (Rik Emmett) he actually sounded kind of like a less goofy yelping version of Geddy Lee. Not to mention that they also emerged in the Toronto area of Canada about the same time AND to be fair there is very much on their debut album that really does sound like the first Rush album. Originally album number had an eponymous title but was retagged in 1996 as IN THE BEGINNING with an entirely new album cover. The album was pretty much limited to Canada in those days but is now easily available with a recent remastered version emerging.

While the band would grow musically and become both notable for their catchy hard rock bordering on heavy metal melodies as well as for their AOR radio with Rik Emmett's high pitched vocals creating a distinct mark on the world of hard rock, on IN THE BEGINNING they sound very much like a 70s hard rock band. The album kicks off with a bluesy hard rocker that sounds a bit like a hard Alice Cooper bluesy shuffle with a party all night Kiss attitude. Yeah, the lyrics on this one weren't too developed at this point and are a little focused on teenage obsessions such as partying all night! Love! Easy living! And of course rock 'n roll. Many of the tracks sound like they could have fit right in on Rush's debut release and the influence is undeniable and understandably so given time and place however TRIUMPH-isms do exist like Emmett's signature guitar solos sounding nothing like Alex Lifeson's and their riffing while similar is still all their own. "Let Me Get Next To You" however is a little too close to early Rush territory for its own good sounding like "Finding My Way."

"Don't Take My Life" sounds a bit like "I'm 18" from Alice Cooper and simultaneously a bit like "All Along The Watchtower" by Hendrix showing a couple more influences in the mix. The most interesting track that deviates from the blues and hard rock queue is the near nine minute closer "Blinding Light Show / Moonchild" which sounds completely different from the other tracks. It begins with a hard rock Celtic type of jig but completely shifts gears and becomes a spacey Pink Floyd sounding acoustic arpeggio run and really sounds like something off of "The Wall" a full three years before that album was released! It has a rock chorus but evolves into a beautiful classical guitar sequence that gets quite accomplished thus the type of track that often gets them in progressive rock related territory.

While not completely finding their own distinct sound quite yet, IN THE BEGINNING is a well performed debut that is a pleasure to listen to. Emmett had some of the best vocals in the world of hard rock and AOR and TRIUMPH sort of was a much more sophisticated version of Journey rather than a mere Rush clone at least after the first couple albums. On this one they do sound a lot like early Rush but that's not a bad thing for me since i happen to love the early Rush albums before they blossomed into prog behemoths. While TRIUMPH albums have traditionally suffered poor production values and neglected due to the fact that despite finding some success never really hit the big time either but the new remastered releases sound excellent like they were made for modern day consumption. Even if 70s hard rock isn't your thing, i highly recommend the closing track for prog heads however if you do fancy bluesy heavy rock from that era, TRIUMPH's first album is quite the pleasant listening experience.

3.5 rounded down

 Pike 265 - Ride Operator Q Bozo by BUCKETHEAD album cover Studio Album, 2017
5.00 | 1 ratings

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Pike 265 - Ride Operator Q Bozo
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

— First review of this album —
5 stars BUCKETHEAD (as Bucketheadland) / Pike 265 - Ride Operator Q Bozo / 22nd release of 2017 / All instrumental / Contains 8 tracks with 7 titled 'R.O.Q. Bozo' plus an 8th differently titled/ Clocks in at 31minutes 26seconds / everything played by Buck-buck- buckethead. Like many of these same track named PIKEs, this one's playlist runs together fairly seamless merely passing the melody baton onto the next track

'R.O.Q Bozo 1' (2:35) begins with dissonant jangly guitars and then bursts into heavy metal riffing but remains dissonant and has a jangly distortion. From the din a sizzling guitar solo erupts but quickly becomes suffocated by more jangly angular guitar riffs. Enter the thrash riffing and then it changes up again. Guitar, bass and drums are smokin' hot

'R.O.Q Bozo 2' (3:13) sort of runs into first track but has a mid paced tempo with staccato grungy riffs but picks up steam. Remains somewhat dissonant and down tuned. Very alternative metal feeling. Picks up intensity at end

'R.O.Q Bozo 3' (2:50) starts off more thrashy but then subdues into a quiet murky passage with jangly licks and atmospheric accouterments. Metal riffing returns along with strange off-kilter guitar licks that are sorta in their own world. The progressive time sigs are off the hook

'R.O.Q Bozo 4' (3:47) begins with more heavy riffing but is joined by some energetic guitar sliding action which offers a strange counterpoint. The slides become guitar solos and the jangly riffs seem even more dissonant, down tuned and alienating. After a quieting down it becomes some sort of nursery rhyme type of riffing for a short while and then erupts back into heavy riffs, guitar slides and more loud cacophonous outbursts

'R.O.Q Bozo 5' (3:46) basically continues but offers an energetic outburst of riffing before slowing down and letting fuzzy guitar distortion do some 'talking.' This one is all over the place but is sort of a call and response between intense metal riffing sessions with slower jangly echo chamber segments accompanied by very freaky guitar licks

'R.O.Q Bozo 6' (4:16) changes abruptly with a subtle funk element but quickly becomes overpowered by dissonant heavy guitar riifs, pyroclastic eruptive guitar solos and a bass and drum fast enough to melt fingers. Angular rhythms and filthy distortion meander all over the place ratcheting up the intensity and the musical tension is thick. Also included are reverb freak outs and all kinds of whizzing up and down the scales in both the riffing and solos like there's no tomorrow and some weird circus rhythms towards the end

'R.O.Q Bozo 7' (3:59) is a more 'normal' type of track at first with a recognizable melody but the dissonant squad overpower it quickly and then all kinds of forces fight each other for domination. It just gets weirder and weirder as guitar solos, different riffs, tempos, dynamics and everything vie for ultimate control. It changes up often and any structure has been replaced by utter chaos. It's literally an orgy of different sounds

'Ramp Ahead' (7:00) is the only track with a different title and likewise is the only track with a totally different feel. After the frenzy that was the 'R.O.Q' train that ended in a total cluster [%*!#] of unhinged musical offerings, this one is a nice little 'normal' type of alternative metal track with a recurring melody that is created from distorted guitar riffs, bass and drum at a slow to medium tempo. The distortion is heavy as each note reverberates into the future creating a wall of sound effect but somehow it all balances out. After a slower beginning it gets heavier and more thrashy but the melody remains locked into the riff changes and carried on even within the solo and lick action. The track remains 'stable' throughout its 7 minute run and is the perfect sanity recalibrater after the intensity of what preceded

Yay! This is my favorite PIKE of 2017 so far. It is highly energetic, experimental and unrelenting in its delivery of A+++ weirdo instrumental metal. It has all the adventurous experimental elements i love about BH but also has a sense of control in that every element is carefully crafted and doesn't feel random at all (well, ok it does sometimes :) The melodic elements and the chaotic dissonance are always hanging on a tightrope together and the tension is unnerving. This is a fine example of BH's musical maestrohood and yet another testament to his otherworldly powers he derives from space chickens. Another golden egg has been laid!

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