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PROG RELATED

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


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

4.39 | 1060 ratings
LED ZEPPELIN IV
Led Zeppelin
4.52 | 292 ratings
BLACKSTAR
Bowie, David
4.36 | 752 ratings
QUEEN II
Queen
4.30 | 898 ratings
PARANOID
Black Sabbath
4.29 | 876 ratings
A NIGHT AT THE OPERA
Queen
4.22 | 813 ratings
BLACK SABBATH
Black Sabbath
4.23 | 623 ratings
ARGUS
Wishbone Ash
4.21 | 737 ratings
SEVENTH SON OF A SEVENTH SON
Iron Maiden
4.22 | 609 ratings
THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS
Bowie, David
4.19 | 472 ratings
RISING
Rainbow
4.17 | 451 ratings
HUNKY DORY
Bowie, David
4.12 | 693 ratings
POWERSLAVE
Iron Maiden
4.12 | 681 ratings
MASTER OF PUPPETS
Metallica
4.11 | 706 ratings
SABBATH BLOODY SABBATH
Black Sabbath
4.16 | 310 ratings
SCARY MONSTERS (AND SUPER CREEPS)
Bowie, David
4.09 | 558 ratings
RIDE THE LIGHTNING
Metallica
4.06 | 800 ratings
PHYSICAL GRAFFITI
Led Zeppelin
4.06 | 702 ratings
MASTER OF REALITY
Black Sabbath
4.17 | 234 ratings
SECRET TREATIES
Blue Íyster Cult
4.03 | 872 ratings
LED ZEPPELIN
Led Zeppelin

Latest Prog Related Music Reviews


 ╔quinoxe by JARRE, JEAN-MICHEL album cover Studio Album, 1978
4.01 | 238 ratings

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╔quinoxe
Jean-Michel Jarre Prog Related

Review by sgtpepper

4 stars A successor to Oxygene that can hold on its own. A lot of textures, nice keyboard layers. This album is more reflective than Oxygene and almost a masterpiece but still missing more complexity and ideas. The melodies are strong and sometimes catchy. Although there are influences of Tangerine Dream and other progressive electronic artists, it is a quite accessible effort and once you try to play it on the keyboards yourself, you will see that the chords are not difficult to recognize :-) It would have been a pleasure to have all these analog keyboards around and play on them! A very fine record and second of his three best ones.
 Jack Orion by JANSCH, BERT album cover Studio Album, 1966
3.67 | 8 ratings

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Jack Orion
Bert Jansch Prog Related

Review by SteveG

4 stars The third part of the archetype for the sound of future folk rock band The Pentangle, along with John Renbourn's Another Monday and the Jansch/Renbourn collaboration tilted Bert & John. The solo Jansch album Jack Orion, to me, may be the least accessible but the most important. By this time Bert Jansch hit upon adding musical accompaniment to traditional British folk songs using alternate guitar tunings such as DADGAD to create droning pseudo Celtic musical atmospheres. Employing his future Pentangle band mate John Renbourn to supplement his singing and playing on songs like 'Pretty Polly', 'The Wagoner's Lad', 'Henry Martin', and the stunning 9 minute long title track. Indeed, 'Jack Orion' may seem like a song with overlong verbiage but it is a long detailed Shakespearian-like drama that rewards close listening as the lyrics deal with deceit, betrayal, revenge, murder and suicide. All the key musical and lyrical elements that would soon find its way into the Pentangle's sound and make the band so great and so unique. Other album highlights include an acoustic reading of Ewan MacColl's 'The First Time Ever I saw Your Face' and Jansch's seminal adaption of the evergreen traditional song 'Blackwater Side'. 4 stars.
 Led Zeppelin III by LED ZEPPELIN album cover Studio Album, 1970
3.92 | 803 ratings

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Led Zeppelin III
Led Zeppelin Prog Related

Review by TenYearsAfter

4 stars This is the magical album where Led Zeppelin started their unique eclectic musical journey, and so became an interesting band for open-minded progheads. Because the band decided to embellish their pivotal blend of R&R, hardrock and blues with a lush instrumentation and a folky touch. JP Jones played an important role in Led Zeppelin's new sound, he turned from a bass player into a multi-instrumentalist (bass, guitars and 'vintage' keyboards). But also Jimmy Page contributed hugely by not only playing the electric guitar but also a range of acoustic guitars. Another interesting element was John Bonham, no longer only a powerhouse drummer but also showing his great sense for timing and playing assorted percussion. And, last but not least, singer Robert Plant rose to the occasion, singing even more powerful bul also showing his beautiful mellow side.

1. Immigrant Song (2:25) : On this opener (still )no signs of another musical direction, what an exciting rock and roll atmosphere featuring a thunderous guitar riff and a steamy rhythm-section, topped by excellent vocals.

2. Friends (3:54) : A folky atmosphere with catchy acoustic guitars, Bonham delivers assorted percusson, Plant warm vocals and JP Jones surprises with captivating strings arrangements. The sultry atmosphere reminds me of their classic Kashmir, also oriental sounding.

3. Celebration Day (3:29) : Heavy rock and roll , coloured by fiery slide guitar, Page impresses again!

4. Since I've Been Loving You (7:23) : One of their best tracks ever! It starts with sensitive bluesy guitar and mellow Hammond organ (evoking Ten Years After), then a great build up featuring howling guitar runs, emotional vocals, the climax delivers an moving guitar solo, awesome drums and Plant in its full splendor.

5. Out On The Tiles (4:07) : Another strong Jimmy Page catchy and heavy guitar riff, with powerful vocals and a propulsive rhythm-section, this is trademark Led Zeppelin.

6. Gallows Pole (4:56) : An example of the 'new Led Zep' with exciting propulsive acoustic rhythm guitar and powerful bluesy vocals.

7. Tangerine (3:10) : What a beautiful ballad featuring warm acoustic rhythm guitar, tender vocals, halfway howling electric guitar runs and then the distinctive steel guitar.

8. That's The Way (5:37) : Another fine example of the 'new Led Zep' with dreamy acoustic rhythm guitar and vocals, accompanied by the versatile JP Jones on mandolin, a wonderful folky atmosphere.

9. Bron-Y-Aur Stomp (4:16) : A favourite of mine, I am delighted about my guitar hero Jimmy Page on the acoustic guitar (reminding me of the underrated acoustic virtuoso Rory Gallagher). Also a great vocal performance and subtle percussion contribution by drummer John Bonham.

10. Hats Off To (Roy) Harper (3:42) : This song is a tribute to the Old School blues with fat slide guitar, inspired vocals and a hiss in the sound that coloures the music like a kind of sound collage, very special.

How impressive that a band can deliver such a high quality variety, from the heavy Immigrant Song and Out On The Tiles to the the compelling bluesy Since I've Been Loving You and folky Tangerine and Bron-Y-Aur-Stomp. A big hand for Led Zeppelin!

 It Don't Bother Me by JANSCH, BERT album cover Studio Album, 1965
4.05 | 3 ratings

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It Don't Bother Me
Bert Jansch Prog Related

Review by SteveG

3 stars If an album could be described as suffering the dreaded 'sophomore blues' its this follow up album to Bert Jansch's legendary debut. Sporting better production values but not better material, It Don't Bother Me seems a rushed affair and probably was at the time it was recorded and released. After all, who knew that Jansch's eponymous debut would be so popular in the British folk circles of the mid 1960s. Songs that stand out on It Don't Bother Me are 'Anti Apartheid', 'Harvest Your Thoughts Of Love' and the album's dark and moody title track. John Renbourn guests on the wonderful instrumental 'Lucky Thirteen' while Jansch does a solo on the cyclical sounding instrumental titled 'The Wheel'.

It Don't Bother Me is by no means a bad album, it just doesn't improve on Jansch's debut. That would come pass on Jansch's third solo offering coming up quickly titled Jack Orion and, off course, with the debut album of the Pentangle that followed close behind. 3 stars.

 Bert Jansch & John Renbourn: Bert And John [Aka: Stepping Stones] by JANSCH, BERT album cover Studio Album, 1966
4.85 | 6 ratings

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Bert Jansch & John Renbourn: Bert And John [Aka: Stepping Stones]
Bert Jansch Prog Related

Review by SteveG

5 stars Another wonderful and necessary record to accompany listening to the early Pentangle canon is this 'folk baroque' classic collaboration by Bert Jansch and John Renbourn that is a powerhouse recording of mostly titillating and jaw dropping instrumentals that runs the gamut of Arabic scales raga (East Wind) to psychic call and response playing on blues, jazz, Elizabethan styled songs (Piano Tune, Good Bye Pork Pie Hat, Orlando)and exciting self penned songs that show off the duo's virtuoso playing chops (Tic-Tocative, No Exit and Stepping Stones). The record also contains two songs that were sung numbers by Jansch, the dark and brooding 'Soho' and the Anne Briggs penned 'The Time Has Come'. 'Soho' is an instant classic while 'The Time Has Come' is less successful and would be reinterpreted by The Pentangle a few years later with greater success. Indeed, The Pentangle would also remake 'Pork Pie Hat' and 'No Exit' on their second album Sweet Child and comparing the development of these songs is part of the fun for Pentangle aficionados.

The Castle remaster sports the best sound ever heard for this recording and is, as usual, graced with detailed liner notes by noted Jansch biographer Colin Harper and also sports some never before seen pics of our heroes. If you've run out of early Pentangle albums to savor, then this disc is the place to fill that void. 5 Stars.

 Bert Jansch by JANSCH, BERT album cover Studio Album, 1965
4.27 | 12 ratings

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Bert Jansch
Bert Jansch Prog Related

Review by SteveG

5 stars Beyond the hype, music, sweet music.

It's easy to place Bert Jansch's and his Pentangle partner John Renbourn's early solo albums as a type of addendum to their Pentangle canon. A type of unofficial 'immersion' material, if you will, as many of the 'folk baroque' trademarks that the duo pioneered presage the trademark Pentangle sound as well as posting a crossover of solo songs onto later Pentangle albums where fans can track their development.

However, Jansch's first solo album, while being hailed as a British folk rock icon, goes well beyond that. To put it simply, beyond it's ground breaking fill of self penned songs and dexterous guitar instrumentals, the music and voice of the man soars to a height that Jansch rarely bettered in his entire recorded lifetime. That's mainly because Jansch was so well versed in this material, probably for years, before they were immortalized in black vinyl. When the album starts with the bucolic 'Strolling Down The Highway' not only is this beautiful song sung pitch perfect, but every slight and secondary guitar note was meticulously thought out and accompanies the song's dominant chords and melodies in a way that makes the music always sound so much more than just a man recorded with a single acoustic guitar. Jansch's oft celebrated song for a passed friend 'Needle of Death' with it's heart tugging lyric seems to have all the sweep and grandeur of an orchestra that simply isn't there. But Jansch makes you think it, feel it and believe it. And this, along with his definitive ligatos, pull offs, slurs, string pulls and all other tricks that are hard to define by his slight of playing hand , as on the Davy Graham instrumental standard 'Angi', not only made Jansch a musician's musician, it put him into a category of British folk artist that was heretofore unknown.

But again, aside form the accolades of Jansch's solo debut, it's the music that delivers more than 50 years since it was first recorded. And with that, it really deserves more accolades than just being an addendum to a folk rock super group. 4.5 stars rounded up 5.

 Rebel Rebel by BOWIE, DAVID album cover Singles/EPs/Fan Club/Promo, 1974
4.09 | 2 ratings

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Rebel Rebel
David Bowie Prog Related

Review by TenYearsAfter

4 stars 1. Rebel Rebel ' 4:22

Around the year 1974 David Bowie had a certain connection with The Netherlands: the Diamond Dogs album cover was painted by Dutch artist Guy Peellaert, he did the final mix of Diamond Dogs with Tony Visconti in Hilversum, he attended a press reception and later the Edison Awards with his girlfriend Angie in Amsterdam and, last but not least, he performed his new single Rebel Rebel in the Dutch tv pop music program Toppop. How sensational, with his androgyn lookes, platform shoes, red hair and playbacking on a red Fender Stratocaster guitar. But the most remarkable was the eyepatch he was wearing, picked up in the studio (Bowie was also a genius in media attention), that video clip (with caleidoscope images) went all over the world!

On the Internet I read: 'Rebel Rebel was written for a never-realized Ziggy Stardust musical and reportedly inspired by New York transsexual and actor Wayne County, who was part of Bowie's entourage at the time.'

Wow, that guitar riff from Bowie himself (not Mick Ronson who left Bowie for a solo carreer in 1973), this one belongs in the category 'legendary', like the riffs in Paranoid by Black Sabbath, Smoke On The Water by Deep Purple and Whole Lotta Love by Led Zeppelin. And by playing it over and over it turns into the heartbeat of the song, very pulsating and hypnotizing. And how about the tight rhythm-section, featuring the experienced Herbie Flowers (T-Rex, Sky) and Aynsley Dunbar (Zappa, Journey). All topped by David Bowie his distinctive vocals, singing about a girl who is testing the borders in a heavy way, perhaps a mirror Bowie is looking in, a metaphor for his own experiences and behaviour? Anyway, Rebel Rebel became an iconic glamrock song but one year later the musical chameleon Bowie presented the funky hit Fame, dressed like on the catwalk, goodbey rock and roll!

2. Queen Bitch ' 3:13

An inspired tribute to the Velvet Underground featuring an exciting blend of acoustic rhythm guitar and the 'dirty' electric guitar by the late and great Mick Ronson ('My own Jeff Beck' Bowie stated once), and strong vocals by Bowie. He easily evokes composer Lou Reed his unique voice, yes, what an outstanding musical chameleon David Bowie was! The US and Canadian version of this single had Lady Grinning Soul as the B-side, I presume due to the fact that the title Queen Bitch was too provocative for the Moral Majority.

 A Light in the Sky by AIREY, DON album cover Studio Album, 2008
3.94 | 23 ratings

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A Light in the Sky
Don Airey Prog Related

Review by TenYearsAfter

4 stars In the late Seventies I stumbled upon Don Airey while looking at the back cover of the album Electric Savage (1977) by Colosseum II, on a picture he was playing a Minimoog synthesizer. The music blew me away, what an exciting blend of jazz rock and symphonic rock and what a great work on the Minimoog by Don Airey (see PA video Colosseum II : The Scorch Live). I became a fan and watched him in 1981 with Ritchie Blackmore's Rainbow and more recently in 2012 as Don Airey & Friends, playing on the mighty Hammond B3 organ. Along an endless list of bands he joined (like Judas Priest, Black Sabbath, Jethro Tull, Whitesnake, Wishbone Ash and Thin Lizzy) Don Airey also released four solo albums between 1988 and 2014. And On May 25th he will release his new solo album entitled One Of A Kind, including a live bonus CD (4 tracks, Germany 2017). This review is about my favourite one, his second entitled A Light In The Sky from 2008.

During my first listening session I concluded very quickly: what an exciting and varied album featuring mindblowing work on the Hammond organ and Grand piano! As a huge fan of the very distinctive Hammond I was blown away by Don Airey, he let his Hammond moan and groan and scream during swirling solos in Ripples In The Fabric Of Time, Space Troll Patrol, Endless Night and A Light In The Sky Pt.2. But also a big hand for his vituosic work on the Grand piano like in Love You Too Much (wonderful ballad with warm vocals), Sombrero M104 (sparkling with flamenco hints), Into Orbit (swirling duet with a violin) and the strongly build-up final song Lost In The End Of Time (beautiful interplay between electric guitar and a melancholical violin).

And what a variety in the other songs.

Rainbow-like Heavy Prog with powerful vocals in Shooting Star (Hammond sound like Jon Lord and a flashy Minimoog synthesizer solo with pitchbend) and A Light In The Sky Pt.2.

Rockabilly (in the vein of The Strays Cats) with Hammond organ in Rocket To the Moon.

Fiery guitar with a jazzy Fender Rhodes electric piano in Big Crunch.

And ambient keyboard sounds in several short songs like Big Bang, Lift Off and Metallicity.

Especially during the 12 instrumental tracks Don Airey showcases his impressive skills on a wide range of keyboards, what an exciting, varied and genuine progressive album.

 Argus by WISHBONE ASH album cover Studio Album, 1972
4.23 | 623 ratings

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Argus
Wishbone Ash Prog Related

Review by The Jester

5 stars I don't know about other countries, but Argus is a legendary album in Greece.

It was released on January 1972, it was the 3rd studio album of Wishbone Ash, and it is considered their best work by far. Needless to say that is also their most famous work. Many music magazines named it as 'album of the year' on 1972.

The album has a Medieval theme, and the music style includes elements of Progressive Rock, Hard Rock and Folk Rock.

The major characteristic of Argus was the two leading guitars (instead of the usual one lead and one rhythm guitar), that gave to their sound a very different feeling. Actually, this album is considered as a landmark for it's special guitar sound. This two-lead-guitar style, was adopted later on from bands like Thin Lizzy and Iron Maiden, among others.

The sound engineer was Martin Birch, who had also worked with Deep Purple and later on with Black Sabbath and Iron Maiden. In the years that followed, Argus became a big live attraction, which still continues in many occasions in our days.

The album includes 7 songs, and with the exception of Leaf and Stream (3.55), all the other songs are over 5 minutes long. Songs like Warrior, The King will Come, and Throw down the Sword are examples of how good and well-structured Rock music should sound like.

I remember buying the vinyl edition at some point during the 80's and the CD re-issue almost ten years later, which was including one extra song.

In my opinion, Argus is a brilliant album and a 'must-have' for every Rock fan. In case you don't have it yet, buy it without a second thought! 5.0 Stars from me

 Switch by GOLDEN EARRING album cover Studio Album, 1975
3.02 | 44 ratings

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Switch
Golden Earring Prog Related

Review by Seyo
Special Collaborator Honorary Collaborator

3 stars To follow-up artistically and commercially successful "Moontan" was not an easy task, but GOLDEN EARRING managed to make an interesting but also an uneven album. The band seemed determined to not repeat the formula of the previous LP and even the catchy cover artwork seemingly shows a former showgirl beauty of "Moontan" stripped down to a skeletal marionette figure. Yet, the band line-up was enlarged to include a second guitarist and a keyboard player, so the sound is arguably richer and produced better then ever before. Compositions seem more streamlined and focused on making shorter radio-friendly songs, although lengthy prog passages are not entirely abandoned.

For my taste "Switch" contains three excellent tracks. Instrumental "Intro" provides nice atmosphere alternating between a slow tempo spacey part and a more hard rocking section that follows. There are subdued vocals repeating the Latin phrase "Plus Minus Absurdio" in a more instrumental effect. The title track invites us to a more familiar GE territory with its groovy sound based on irresistible twin guitars boogie rocking and fine Hay's singing. "Kill Me" almost anticipates a gloomy post-punk with its dark and foreboding rhythm. When I first heard the vocals I was reminded of Peter Murphy's baritone invoking Bela Lugosi several years ahead with his BAUHAUS. Also, guitar effects are wonderfully used. With its 6,5 minutes duration it is a song most resembling a sort of prog rock, along with the "Intro".

The rest of the album is not on par with these three gems. Slightly funky "Love Is a Rodeo" starts with a guitar chord or riff that would be later perfected on the future hit "Mad Love's Coming" off "Contraband" LP, but multi-vocal chorus is not very effective here. Another song that was perhaps composed to act as the album's hit single is reggae-tinged "Tons of Time" opening the B-side of the vinyl. It is a nice melodic track with good organ and synth backing, that would probably get more attention had it been released around 1979-80 during the post-punk ska revival and emergence of commercial "lover's rock" branch of Jamaican music. The rest of this album is occupied by unremarkable generic rock tracks, whose occasional good solo on saxophone (strangely, not by Barry Hay but by a guest musician), piano or guitar cannot redeem a true value.

What "Switch" seems to confirm is that GOLDEN EARRING had trouble with composing a quality album-length material, and that despite offering some brilliant moments (mostly to be found on the A side of the LP), many tracks sound as fillers. That said, this album is still a good one. There is nothing particularly wrong even with these lesser tracks. It is just that from the prog rock perspective (even if GE are not considered a "true" representative of the genre) there is much left to be desired.

PERSONAL RATING: 3,5/5

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Prog Related bands/artists list

Bands/Artists Country
10CC United Kingdom
14 BIS Brazil
801 United Kingdom
ABEDUL Spain
ABSOLUUTTINEN NOLLAPISTE Finland
ACIDENTE Brazil
AERODROM Yugoslavia
AGNUS DEI Austria
DON AIREY United Kingdom
ALBERO MOTORE Italy
ALWAYS ALMOST United States
THE AMBER LIGHT Germany
AMBROSIA United States
JON ANDERSON United Kingdom
ARIEL Australia
ASIA United Kingdom
ATLANTIS United States
PETER BARDENS United Kingdom
SYD BARRETT United Kingdom
LUCIO BATTISTI Italy
BEAU DOMMAGE Canada
BIJELO DUGME Yugoslavia
BLACK SABBATH United Kingdom
BLACKFIELD Multi-National
BLODWYN PIG United Kingdom
BLUE ÍYSTER CULT United States
JEAN-PASCAL BOFFO France
THE BOLLENBERG EXPERIENCE Belgium
DAVID BOWIE United Kingdom
BRAM STOKER United Kingdom
BUCKETHEAD United States
BUDGIE United Kingdom
BYZANTIUM United Kingdom
JOHN CALE United Kingdom
CARNEGIE United States
CASA DAS M┴QUINAS Brazil
THE CHURCH Australia
CITY Germany
CITY BOY United Kingdom
CLOUDS United Kingdom
STEWART COPELAND United States
CRUACHAN Ireland
MARTIN DARVILL & FRIENDS United Kingdom
BRIAN DAVISON'S EVERY WHICH WAY United Kingdom
FABRIZIO DE ANDR╔ Italy
CHRISTIAN D╔CAMPS France
DEUS Belgium
DIABOLUS United Kingdom
DIR EN GREY Japan
DRAGON New Zealand
DREAMLAND United States
ER. J. ORCHESTRA Ukraine
ESQUIRE United Kingdom
EVOLVE IV United States
EX CATHEDRA United States
FAIRPORT CONVENTION United Kingdom
THE FIRE THEFT United States
FLIED EGG / STRAWBERRY PATH Japan
FLIGHT 09 Uzbekistan
FLYING COLORS United States
FM Canada
FOTHERINGAY United Kingdom
ELOY FRITSCH Brazil
FUGATO ORCHESTRA Hungary
AVIV GEFFEN Israel
DAVID GILMOUR United Kingdom
GORDON GILTRAP United Kingdom
ROGER GLOVER United Kingdom
GOD BLESS Indonesia
GODLEY & CREME United Kingdom
GOLDEN EARRING Netherlands
GROUNDHOGS United Kingdom
GTR United Kingdom
GUDDAL (YNGVE) & MATTE (ROGER T.) Norway
GYGAFO United Kingdom
THE HAPPENINGS FOUR Japan
HELP YOURSELF United Kingdom
KEN HENSLEY United Kingdom
ROGER HODGSON United Kingdom
HORIZONT Sweden
INDIGO Austria
IRON MAIDEN United Kingdom
JACKSON HEIGHTS United Kingdom
BERT JANSCH United Kingdom
JAPAN United Kingdom
JEAN-MICHEL JARRE France
JON & VANGELIS United Kingdom
BRYAN JOSH United Kingdom
JOURNEY United States
KALEVALA Finland
ERIC KAMPMAN United States
KESTREL United Kingdom
KING'S X United States
KINO United Kingdom
KLAATU Canada
KORNELIJE KOVAC Yugoslavia
KREUZWEG Germany
GREG LAKE United Kingdom
LANA LANE United States
LED ZEPPELIN United Kingdom
GEDDY LEE Canada
JOSIPA LISAC Yugoslavia
JON LORD United Kingdom
MAGELLANMUSIC United States
MAGNA CARTA United Kingdom
MAGNUM United Kingdom
YNGWIE MALMSTEEN Sweden
M┼NS MOSSA Sweden
GERARD MANSET France
PHIL MANZANERA United Kingdom
NICK MASON United Kingdom
MASTERPLAN Multi-National
MATTER OF TASTE Austria
PETER MATUCHNIAK United States
MAX WEBSTER Canada
MERCURY REV United States
METALLICA United States
MINDFIELDS Poland
MOONDANCER Japan
MUSE United Kingdom
NOW United States
OFFENBACH Canada
OM ART FORMATION Bulgaria
OYSTERHEAD United States
PAGE AND PLANT United Kingdom
THE PARLOUR BAND United Kingdom
ALAN PARSONS BAND United Kingdom
PHISH United States
I POOH Italy
DAVORIN POPOVIć Yugoslavia
PRIMUS United States
QUEEN United Kingdom
RAIN FOR A DAY Germany
RAINBOW Multi-National
JOHN RENBOURN United Kingdom
TERRY RILEY United States
LAZA RISTOVSKI Yugoslavia
ROCKFOUR Israel
MIKE RUTHERFORD United Kingdom
SADISTIC MIKA BAND Japan
SATIN WHALE Germany
SER┌ GIR┴N Argentina
SIGNS OF ONE Canada
DAVE SINCLAIR United Kingdom
PETER SINFIELD United Kingdom
SLINT United States
SOLSTICE COIL Israel
STEELEYE SPAN United Kingdom
STRAWBERRY FIELDS Poland
STREAM OF PASSION Netherlands
STYX United States
SUI GENERIS Argentina
SUPER FURRY ANIMALS United Kingdom
SVANN Poland
SYMPHONIC SLAM Canada
SYNERGY United States
SYNOPSIS Estonia
ALDO TAGLIAPIETRA Italy
TALKING HEADS United States
TAMOUZ Israel
TANTALUS United Kingdom
TIRED TREE Sweden
TITANIC Norway
TOY MATINEE United States
TRAVELLERS Poland
TRIANGULUS Sweden
TRICANTROPUS Spain
TRIUMPH Canada
STEVE VAI United States
ANNEKE VAN GIERSBERGEN Netherlands
VANGELIS Greece
VICTOR Canada
OLIVER WAKEMAN United Kingdom
WALRUS Japan
JOHN WETTON United Kingdom
WHALEFEATHERS United States
WHEATSTONE BRIDGE United States
WHIMWISE United Kingdom
WHITE United Kingdom
ROBIN WILLIAMSON United Kingdom
WISHBONE ASH United Kingdom
THE WISHING TREE United Kingdom
ERIC WOOLFSON United Kingdom
ZON Canada

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