Bands with one-off prog albums?

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   I don't think Progarchives has made itself flexible enough to include bands who flirted with prog but did not stay in the territory for more than one or two albums.  Hence some folks may be missing out on some classics. Some examples, and you'll note 3 from 4 are based on concept and/or rock operas:
Wishbone Ash: Pilgrimage and Argus
Pretty Things: SF Sorrow
Who: Tommy and Quadraphenia (and I suppose with its belated release, Lifehouse could be added)
Spooky Tooth/Pierre Henry: Ceremony.

For display purposes and guidance to browsers in his shop, Alan Freeman , owner of Ultima Thule in Leicester has labelled the display case for 'Ceremony': the 'most difficult progressive rock album". I suppose he is right especially as a warning to new listeners, hence my review (taken back from Amazon) now waiting for that special section in Progarchives:

Ceremony: Spooky Tooth/Pierre Henry

 Quote: "The most challenging piece of prog rock" 
There are no two ways about this album, you will love it (give it five) or hate it (give it nothing). As part of Spooky Tooth's discography it doesn't sit comfortably with the recordings that came by before (some great rock riffs on the first couple of albums) or after (for instance, the brilliant reading of 'I'm The Walrus'). Spooky Tooth were an early heavish rock band , with two distinctive lead vocalists and Hammond organ, along with the usual guitar, bass and drums. They eventually evolved into Foreigner. With those thoughts, then you can guess the idea for 'Ceremony" or more strictly a rock version of the Catholic Mass, largely came from the legendary French, avante gard electronic composer, Pierre Henry. Henry from the 50's had been composing using using tape recorders, long before analog synths appeared. 
Then before the advent of Christian rock bands, musicians had dabbled with the  Mass, although the Electric Prunes weren't quite up to the standard of Herr Mozart. To retain the intregity and therefore the spiritual elements of the Mass, it is difficult to tamper with the words. The music therefore has to provide many things. Some tracks are prefaced by Henry, who is attempting to provide the abstract, emotional soundscape - perhaps to evoke a communion with a higher force or the meditive state of prayer - through his electronic sounds. But if you know Henry's music, then you will know it will be far more towards the school of Stockhaussen than even Wendy Carlos, rather than Keith Emerson, i.e. lacking the instant appeal of a rock moog player. A great rock voice but seriously and powerfully singing the words of the Mass, is another shock to be absorbed. But there is a familiarity in the rock instrumentation and essentially rock tunes, with Spooky Tooth only partly toned down for the occasion. The real joy of this record is that the band have room to power up to their usual dynamic selves, but from the comparatively quiet starts in several sections to this mass. Hence there is deliberate musical tension with a reflective opening progressing towards a joyous explosion of religious fervour (I hear this although I'm an agnostic). 
As a one-off experiment, the results largely justify the efforts, even though it is atypical of Spooky Tooth. If you want something different from the normal run, try this record. If prefer your 70's hard rock not to venture far from its usual territory, avoid it. Perhaps Pierre Henry fans will be the more adventurous.  

Edited by Dick Heath