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Saperlipopette! 
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 Posted: October 03 2016 at 08:35 |
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^I'm afraid no one can. Still over half of the albums on the list is even less fitting.
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zravkapt
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Posted: October 03 2016 at 09:43 |
I added some, took out a lot and made it a list of 30. It might not be perfect but it's better than the list in the OP.
1. "Sabbath Bloody Sabbath" Black Sabbath (1973)2. "Red" King Crimson (1974)3. "Sabotage" Black Sabbath (1975) 4. "2112" Rush (1976)5. "Sad Wings Of Destiny" Judas Priest (1976)6. "Agents Of Fortune" Blue Öyster Cult (1976)7. "Melissa" Mercyful Fate (1983)8. "Powerslave" Iron Maiden (1984) 9. "Energetic Disassembly" Watchtower (1985) 10. "Awaken the Guradian" Fates Warning (1986)
11. "Epicus Doomivus Metallicus" Candlemass (1986) 12. "Master Of Puppets" Metallica (1986) 13. "Peace Sells...But Who's Buying?" Megadeth (1986)
14. "Mekong Delta" Mekong Delta (1987)
15. "Life Cycle" Sieges Even (1988)
16. "Dimension Hatross" Voivod (1988)
17. "No Exit" Fates Warning (1988)
18. "Operation Mindcrime" Queensryche (1988)
19. "Seventh Son Of A Seventh Son" Iron Maiden (1988)
20. "...And Justice For All" Metallica (1988) 21. "Nothingface" Voivod (1989)
22. "Control & Resistance" Watchtower (1989)
23. "Dances of Death" Mekong Delta (1990)
24. "Rust In Peace" Megadeth (1990) 25. "Human" Death (1991)
26. "Images & Words" Dream Theater (1992)
27. "Kaleidoscope" Mekong Delta (1992)
28. "Focus" Cynic (1993)
29. "Crimson" Edge Of Sanity (1996)
30. "AEnima" Tool (1996)
Edited by zravkapt - October 03 2016 at 09:47
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Magma America Great Make Again
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siLLy puPPy
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PSIKE, JRF/Canterbury, P Metal, Eclectic
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Posted: October 03 2016 at 10:33 |
There's been a lot of attention to the metal side of the equation but by definition progressive metal is the fusion of heavy metal and progressive rock. The metal side of things has been quite discussed but the progressive rock side of the equation seems to fly under the radar. Progressive metal would not be a unique subgenre in the greater metal universe without influences ranging from King Crimson to Pink Floyd.
For example, some of the earliest examples of progressive metal coming into its own such as bands like Queensryche on Operation Mindcrime which could be better described as Iron Maiden meets Pink Floyd with a touch of power metal in the mix. Psychotic Waltz was clearly in the Jethro Tull worshipping phase on their debut album A Social Grace. Dream Theater was clearly inspired by the 80s neo-prog with their keyboard runs on their early albums. Steve Harris of Iron Maiden was quite vocal that progressive rock of the 70s was as much inspiration as the heavier blues based rock and metal of the same era. In fact one track on Renaissance's Prologue "Rajah Khan" pretty much provide a blueprint for the whole Steve Harris bass sound. So in effect, i would argue that there is as much if not more progressive rock in the mix that helped forge the escape from the standard verse / chorus trap that many 80s bands were stuck in.
Of course anything can be influential whether it be yodeling, Tuva throat singing, swing jazz or French chansons but there are clearcut progressive albums that have made a dent in the consciousness of the metal lover's world that opened up doors and allowed such hybridization to become the norm. If you add all the subs of metal itself then we should include albums by Meshuggah, Gorguts, Deathspell Omega etc which upped the progressive ante and thus spawned influence for armies of followers who would in turn take things even further. If someone was to take the time this monumental task of following the "progressive metal trail" would require a flow chart on someone's living room wall. Anyone up to it?
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Dean
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Posted: October 03 2016 at 10:54 |
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^ Ah, no. It doesn't work like that does it.
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What?
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siLLy puPPy
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PSIKE, JRF/Canterbury, P Metal, Eclectic
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Posted: October 03 2016 at 11:15 |
 Dean wrote:
^ Ah, no. It doesn't work like that does it. |
Sure it does. I've heard influences from Dark Side and The Wall in more than a few prog metal releases
I'm sort of agreeing with you that it's impossible to list all such albums. We can simply pinpoint releases in history that actually made an impact. I'll make my own list.
Edited by siLLy puPPy - October 03 2016 at 11:25
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Dean
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Posted: October 03 2016 at 11:22 |
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Sure, we all have but you can't do prog by numbers, and prog simply doesn't work like that.
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What?
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Saperlipopette!
Forum Senior Member
Joined: December 20 2010
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Posted: October 03 2016 at 11:48 |
zravkapt wrote:
I added some, took out a lot and made it a list of 30. It might not be perfect but it's better than the list in the OP.
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Vey good list! If we were to make a top 50 my additional suggestions would be: Led Zeppelin and Deep Purple (but not sure exactly which albums) + Queen (Queen II), Blue Oyster Cult (Secret Treaties), Rainbow (Rising), Manowar* (Hail to England), Crimson Glory (st), Coroner (No More Color), Artillery (Inheritance), Atheist (Unquestionable Presence), Pestilence (Testimony of the Ancients)... can't think of any more.
Lucifers Friend, Granicus, Jericho, Dust, November, Flower Travellin' Band, Dark mm... were all metallish and proggy early on, but I doubt they were very influential.
I think I'd gone for Rage For Order by Queensryche over the follow-up.
*the epic silliness comes from Bands like Manowar
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LearsFool
Prog Reviewer
Joined: November 09 2014
Location: New York
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Points: 8642
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Posted: October 03 2016 at 13:51 |
Here's my go at a 50 list:
In
Rock –
Deep Purple
Lucifer’s
Friend –
Lucifer’s Friend
Larks’
Tongues In Aspic –
King Crimson
Sabbath
Bloody Sabbath –
Black Sabbath
Queen
II –
Queen
Red
–
King Crimson
Secret
Treaties –
Blue Oyster Cult
Sabotage
–
Black Sabbath
Sad
Wings of Destiny –
Judas Priest
2112
–
Rush
Rising
–
Rainbow
Hemispheres
–
Rush
At
War With Satan –
Venom
Powerslave
–
Iron Maiden
Don’t
Break The Oath –
Mercyful Fate
Energetic
Disassembly –
Watchtower
Master
of Puppets –
Metallica
Killing
Technology –
Voivod
Seventh
Son of A Seventh Son –
Iron Maiden
Operation:
Mindcrime –
Queensryche
Dimension
Hatross –
Voivod
And
Justice For All –
Metallica
Them
–
King Diamond
No
Exit –
Fates Warning
Nothingface
–
Voivod
No
More Color –
Coroner
The
Key –
Nocturnus
Human
–
Death
Unquestionable
Presence –
Atheist
Effigy
of The Forgotten –
Suffocation
Pure
–
Godflesh
Images
and Words –
Dream Theater
Earth
II –
Earth
Spheres
–
Pestilence
Elements
–
Atheist
Focus
–
Cynic
Symbolic
–
Death
Destroy
Erase Improve –
Meshuggah
Crimson
–
Edge of Sanity
Through
Silver In Blood –
Neurosis
Obscura
–
Gorguts
Still
Life –
Opeth
We
Are The Romans –
Botch
Monumension
–
Enslaved
Leaving
Your Body Map –
maudlin of the Well
Bath
–
maudlin of the Well
The
Mantle –
Agalloch
Si
Monumentum Requires, Circumspice – Deathspell Omega
Leviathan
–
Mastodon
Souvenirs d'un
autre monde – Alcest
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Windhawk
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Posted: October 03 2016 at 14:10 |
Nice to see that Vitaly's list has caused some discussion to happen. I can't vouch for nor explain his choices, apart from that it appears to be a list of best albums from that category, nor do I think he'll ever sign up for this site to do explain his reasoning, but thought it interesting to bring it out into the open. He's made a similar top 50 for avant prog, and a list of 100 for progressive rock. Just in case anyone's curious.
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Websites I work with:
http://www.progressor.net
http://www.houseofprog.com
My profile on Mixcloud:
https://www.mixcloud.com/haukevind/
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Dean
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Joined: May 13 2007
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Posted: October 03 2016 at 14:36 |
 pass.
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What?
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uduwudu
Forum Senior Member
Joined: July 17 2007
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Points: 2601
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Posted: October 03 2016 at 15:00 |
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As a momentary respite from all this heavy metal thing but staying more or less on topic...
Where prog / metal and Spinal Tap meet. Spinal Tap is the natural consequence and summation of yer hard rock.
Musically it's yet another re write of Kashmir by Diamond Head.
But to me the best bit is the title.
An unfortunately (or not) fusion crossroads called "Sucking My Love".
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Flight123
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Posted: October 04 2016 at 03:36 |
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I have been intrigued by Sun O))) but no one seems to mention them. They seem to get a lot of critical acclaim and what I have heard ('Monoliths and Dimensions') seems genuinely progressive to my ears (but I guess there's no big drum kit in there...)
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Saperlipopette!
Forum Senior Member
Joined: December 20 2010
Location: Tomorrowland
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Points: 11798
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Posted: October 04 2016 at 04:13 |
Windhawk wrote:
nor do I think he'll ever sign up for this site to do explain his reasoning
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Probably even less of a chance if he ever reads the discussion his list made happen. These have the exact same illogical flaws as the progressive metal list. Among the seemingly random correct ones and the even more blind fanboy-mistakes, I can't honestly believe that anyone would think this is even close to resemble an accurate list of albums has "built progressive rock". I mean there's six Eloy-albums here - while the correct number should be nil/zero/zilch*. And that's only the beginning of my list of complaints that I won't bother getting into.
Your friend should rename 100 Albums That Built My Progressive Rock Record Collection or Top 100 Progressive Rock Albums According To My Personal Tastes
*what is the correct word to use in english for the number: 0 in this context?
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Pennsylvanian
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Joined: October 04 2016
Location: Pittsburgh
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Points: 5
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Posted: October 04 2016 at 16:52 |
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No Captain Beyond???
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siLLy puPPy
Special Collaborator
PSIKE, JRF/Canterbury, P Metal, Eclectic
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Posted: November 08 2016 at 22:26 |
I have finally completed my list of influential albums that built progressive metal. This is only list 1 and includes the influential albums that led up to the first Watchtower album. A second list of influential prog metal albums to come later
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| THE JIMI HENDRIX EXPERIENCE - Are You Experienced? (May 12, 1967)
Perhaps this is a stretch. Why don’t i just give credence to the very first photon to fractalize into the known universe and all, but THE JIMI HENDRIX EXPERIENCE was really the beginning of it all where this ambitious dude gave permission to the greater rock / metal universe to expand beyond what came before thus upping the ante in terms of both heaviness and progressiveness. True that HENDRIX was very much rooted in the blues rock that came just prior to his experimental fusionism that incorporated jazz elements and experimental hyperactive leanings, but in my world, “Are You Experienced?” is really the big bang for all things progressive and metal simultaneously. True that The Beatles and other bands were ramping up the progressiveness in rock music but only HENDRIX upped the heaviness and changed the very syntax of music that allowed the right ingredients to develop into the metal world that would develop in only a few short years. | | | 2 | 
| IRON BUTTERFLY - In-A-Gadda-Da-Vida (June 14, 1968)
This San Diego based band may have still been firmly rooted in late 60s psychedelic pop rock on the short but sweet tracks of side one of their second 1968 album “In-A-Gadda-Da-Vida” but was instrumental in not only developing the harder aspects of rock that would transmogrify into heavy metal but also created a synergy with proto-prgressive rock on the 17 minute and 5 second title track behemoth that swallowed up side two which was something unheard of in the primordial proto-prog rock ooze of 1968. While following in the footsteps of the more noise oriented artists of the day such as Blue Cheer, IRON BUTTERFLY upped the ante by creating a noisier and more progressive blueprint for many acts to not only copy but infinitely exceed upon. This was ironically Atlantic Records’ hugest seller until Led Zeppelin IV thus indicating a thirst of the music lover’s world to experience heavier and more thought out progressive musical expressions. | | | 3 | 
| KING CRIMSON - In The Court Of The Crimson King (Oct 10, 1969)
What can anyone say about the absolute brilliance that exploded in late 1969 with the release of “In The Court Of The Crimson King?” This was the absolute big bang of progressive rock in general and while the album as a whole encompasses a wide range of progressive musical expressions including Western classical, jazz, blues and beyond, it’s the beginning behemoth “21st Century Schizoid Man” that not only ushered in the new world of progressive rock where KING CRIMSON would remain the unchallenged heroes for eternity but would also provide the energetic drive and instrumental prowess that inspired many a prog metal band to come in the ensuing decades. This album simply interrupted the regularly scheduled program of the day and created a radically new musical dictatorship in the most loving way that gave permission for every band both with more progressive and harder tendencies to be able to forge a new reality. This is probably one of the most important albums in the entire history of music in so many ways but also included important elements that would lead to the world of progressive metal. | | | 4 | 
| BLACK SABBATH - Black Sabbath (Febr 13, 1970)
Well how can you even possibly begin to explain the evolution of progressive metal without going straight to the source of metal itself? It’s simply not possible to omit the very beginning of what many consider the origin of metal in the first place. The fact is that metal had progressive roots right from the beginning although it would shy away from progressiveness for most of the next decade and simplify its overall approach by appealing to the less musically initiated of the lot, yes, those who simply wanted to bang their heads without getting too “heady.” While not only developing darkened lyrical content and overall soundscapes, BLACK SABBATH also adopted the progressive tendencies of merging elements of rock, jazz and blues with a thunderous distorted delivery as well as flirting with lengthy epic tracks like the 10 minute and 28 second final track “Warning.” The debut album album by BLACK SABBATH simply portends the futuristic marriage of the progressive and heavy although the newly designated heavy metal genre would take its sweet time in developing these blueprints laid out on this album into grander visions. | | | 5 | 
| DEEP PURPLE - In Rock (June 3, 1970)
Although DEEP PURPLE had already released three albums prior under their first lineup and was already honing their classically infused style of rock, it was the classic lineup with the inclusion of Ian Gillan taking up vocal duties and Roger Clover taking over the bass that allowed the band to ratchet up the heaviness in their overall sound. “In Rock” was another pivotal album hot on the heels of Black Sabbath that was instrumental in taking the heavier aspects of rock and metal into the less darkened arenas and with Jon Lord’s intricate classically infused keyboard runs which allowed an early glimpse into the style of heavier rock that would evolve into the early neoclassical and power metal that would slowly become more progressive throughout the 1980s. “In Rock” was also a cornerstone of popularizing the first wave of the heavy metal sound and a HUGE inspiration in introducing classical elements into heavy rock arenas. Not only a phenomenally great sounding album that launched their career but an outstandingly colossal influence on future progressive metal bands as well. | | | 6 | 
| LUCIFER’S FRIEND - Lucifer’s Friend (Nov 1970)
While never gaining the popularity that early heavy metal outfits such as Deep Purple, Black Sabbath and Led Zeppelin achieved, Germany’s LUCIFER’S FRIEND began under the moniker Asterix and developed their proto-metal chops alongside other similar sounding bands such as Uriah Heep and Atomic Rooster and not unlike Deep Purple included heavy organ workouts along with their hard bluesy rock riffing. While firmly rooted in the heavy bluesy rock of the era, LUCIFER’S FRIEND added slightly more progressive compositions than their peers in not only the songwriting department but also included jazzy touches as heard on the album opener “Ride The Sky” with the addition of a French horn. LUCIFER’S FRIEND was also notable for completely changing their sound on each album which included more extreme jazz and symphonic elements on their fourth and final album “Banquet.” This debut album though displays an early fusing of sounds from other similar bands of the era all rolled into one and added touches of sophistication hitherto unexplored. | | | 7 | 
| URIAH HEEP - Salisbury (February 1971)
Out of all the early heavy rock bands that would adopt more progressive elements, it’s probably URIAH HEEP on their second album “Salisbury” that sounded most like the power metal bands that would become more progressive in the 1980s with David Byron’s over-the-top operatic vocals soaring high over the aggressive guitar riffs and pummeling bass and drum combo effect. The album not only tackles the organ driven bluesy hard rock sound of other bands like Deep Purple but also adds more dynamics such as the acoustic arpeggiated softer approach of Led Zeppelin. What really sets URIAH HEEP apart from the rest of the pack, however, is the marriage of heavy rock with stronger leanings towards progressive rock even including a 24-piece orchestra on its 16 minute plus title track. While Black Sabbath introduced the world to the darker side of metal, URIAH HEEP along with bands like UFO and Deep Purple created a more melodic early form of power metal that would become more associated with the early 80s progenitors of the exploding progressive metal scene | | | 8 | 
| MAHAVISHNU ORCHESTRA - The Inner Mounting Flame (Aug 14, 1971)
Despite emanating from the fertile jazz scene of the 60s under the tutelage of the great Miles Davis, John McClaughlin emerged as a major musical powerhouse with his technically adept Mahavishnu Orchestra which took the world by storm. Although McClaughlin wasn’t entrenched in the burgeoning hard rock scene of the day, he nevertheless displayed an energy level that would become synonymous with the heavier aspects of rock and metal to come. His seamless fusion of jazz, Indian classical music, Western classical music, flamenco and blues ushered him in as one of the very first technical guitar god shredding wizards just as both progressive rock and the first generation of heavy metal were barely out of the cradle. His impressive energetic tapestry of genres on the debut “The Inner Mounting Flame” provided an eclectic fusion workout that took high-octane progressive virtuosity to new heights which has been rarely matched since but has had a profound influence that has well reverberated into the 21st century progressive metal scene and beyond. | | | 9 | 
| LED ZEPPELIN - IV (Nov 8, 1971)
While LED ZEPPELIN was undoubtedly a major player in the development of hard rock with Jimmy Page single-handedly reinventing blues based rock on the Led Zeppelin II album, the band was not for the most part connected to the burgeoning progressive rock developments that were unfolding in 1971, however on the hugely successful mega-hit Led Zeppelin IV (aka Four Symbols, The Fourth Album, Untitled, Runes, The Hermit or ZoSo) the band unleashed a bona fide progressive hard rock behemoth into the popular world with their most famous track of all “Stairway To Heaven,” despite it not ever even being released as a single. The track reached a length of 7 minutes and 55 seconds which was quite long for a commercially successful hard rock band of the era and included three distinct sections which built up the progressiveness by ratcheting up the tempo, volume and dynamics beginning with an acoustic folk intro and culminating into a heavy rock frenzy and guitar solo before ending with the famous a cappella line: “And she’s buying a Stairway To Heaven.” I mean, really. This single track is the earliest epitome of enigmatic acoustic and heavy metal rock straddled out into a mega-behemoth track that would become the staple of bands like Dream Theater and beyond two decades later. While the rest of the album could not qualify as progressive rock despite being innovative, this one single track has been associated with the development of the early pairing of heavy rock with progressive influences and the sheer popularity alone of this album, that has become one of the hugest selling albums in history, arguably had a huge impact on shedding light onto the developing progressive rock of the early 70s by exposing the masses to longer and more thoughtful thematic song structures. | | | 10 | 
| KING CRIMSON - Red (Oct, 1974)
While KING CRIMSON was a key player in developing not only progressive rock and influencing the fledgling heavy rock scene as early as 1969 with their debut “In The Court Of The Crimson King,” it was their 1974 album Red that took the band’s sound closer to what would be called heavy metal with its power trio wall of noise and brutality. On the heavy rock side Fripp added layers of guitar overdubs and created a heavily distorted feedback frenzy while John Wetton’s bass upped the rhythmic drive. Bill Bruford, known for his virtuosity and energetic drum workouts from Yes, contributed a powerful percussive drive that created a brash and in-yer-face delivery. On the progressive rock side it’s a free-for-all run of polyrhythms and time signatures such as 5/8, 7/8 and 4/4 all leap-frogging to create great layers of complexity. The mixture of both the progressive and heaviness offers an early example of a highly influential album that would effect the future development of the evolution of progressive metal. | | | 11 | 
| RUSH - Caress Of Steel (Sept 24, 1975)
Unlike King Crimson which started out as a progressive rock band that ended the first phase of their career on the heavier proto-metal side of the equation, the Canadian band RUSH, on the other hand, did things the other way around. Starting out simply as a heavy blues rock band on their first two albums, the band shifted gears on their third release “Caress Of Steel” with the debut of science fiction lover and drummer Neil Peart and began to expand their conceptual interests and created their first true progressive heavy rock behemoths in the forms of the epic “The Necromancer,” a three suit journey into a fantastical world and the even more ambitious nearly 20 minute six part journey “The Fountain Of Lamneth.” While this album was sort of a transition between the old and the new, it is the inclusion of Peart’s ambitiousness in developing concepts into their full potential on these two longer tracks that further blurred the distinctions between 70s first generation heavy metal and progressive rock. | | | 12 | 
| RUSH - 2112 (Apr 1, 1976)
While “Caress Of Steel” was a landmark album for RUSH by suddenly expanding beyond the simpler heavy blues rock of their first two albums, it was their 4th album “2112” where they really honed their skills and created one of their most revered albums of their early years. On “2112” the band created a 7-part conceptual piece that swallowed up side one of the album that tackled the subject of a dystopian society that existed in the year “2112”. While the rest of the album consists of unrelated tracks, the title track has become one of the most influential progressive heavy rockers of the 70s and was the first track to perfectly fuse the first generation of heavy metal with progressive rock. While not all agree, “2112” is considered by some to be one of the very first true progressive metal albums. Personally i think it lies more on the heavy rock side not quite generating enough steam to have the term metal bestowed upon it but nevertheless a true bonafide favorite of every metalhead no matter where one’s interests lie. | | | 13 | 
| OZZY OSBOURNE - Blizzard Of Oz (Sept 20, 1980)
After his departure from a long stint as the godfather of metal with Black Sabbath, OZZY OSBOURNE found that the creativity wellspring had run dry and that it was time for something new. While the record company wanted his new band to be called Son Of Sabbath, Osbourne vehemently rejected such a notion and set out on a solo career. With a chance audition with the great Randy Rhoads, Osbourne was so impressed that he hired him on the spot and Rhoads would be a key player in taking the whole metal game up a few notches on”Blizzard Of Ozz”. While not considered progressive metal per se, this album is truly a crossroads of different strains of heavy rock and metal that were developing throughout the 70s. Ozzy would bring in the doomier darkened side of his Sabbath days while Rhoads would simultaneously up the classically infused songwriting skills developed by Ritchie Blackmore in Deep Purple all the while marrying it with the pyrotechnic flair that Eddie Van Halen brought to the table. The result of all this was a highly technical album that while exactly not crossing into progressive metal territory was only a small step away. This album is probably one of the most influential albums in the 80s that would launch a whole new wave of technically minded metal heads that would take the metal world into new progressive territories including the army of guitar shredders to emerge from his powerful wake. | | | 14 | 
| VENOM - At War With Satan (Apr 16, 1984)
While not exactly employing the techniques of prog metal in the composition department, VENOM was instrumental in taking the New Wave Of Heavy Metal (NWOHM) beyond the Angel Witch / Iron Maiden / Cirith Ungol experience and is credited for dishing out the very first example of extreme metal that is equally revered as being the big bang of everything black, thrash and death. Well, these things are subjective, of course, but it is fair to say that they did up the metal game a few notches and offered a new perspective on how to fractalize the possibilities. While not exactly a progressive outfit, they did delve into the arenas of progressive metal with their third album “At War With Satan” which was a semi-concept album that took the good vs. evil thing to a new level only this time around made Satan the victor, thus evoking the wrath of the Christian right prudes of the day. While this album was not progressive metal per se it did include the whopping 19 minute and 57 second title track which offered a blueprint in how an extreme metal band could ratchet up concepts and musical developments into hitherto unexplored arenas in the fledgling metal genre. While i would never call anything Venom churned out as “progressive,” they were nonetheless very experimental and offered blueprint inspired glimpses into how to expand the genre. | | | 15 | 
| IRON MAIDEN - Powerslave (Sept 3, 1984)
Steve Harris never made it a secret that his style of playing was as much inspired by the progressive rock of the 70s as it was by the heavier balls-to-the-wall acts that emerged in the latter part of the same decade. In fact if you jump into your musical time capsule and head all the way back to a specific Renaissance album titled “Prologue” you will find a specific track titled “Rajah Khan” which was a ten minute plus progressive epic that despite an anomaly in the aforementioned band’s discography nevertheless offered a seed of inspiration for a young bassist who would create one of the greatest heavy metal bands EVER!!!!! While Harris found huge success with the addition of Bruce Dickinson taking over on vocals, the album “Powerslave” remains a favorite despite countless classics simply because it embraced many aspects of the musical universe including the progressive rock side as heard on “Rime Of The Ancient Mariner” which was the musical translation of a Samuel Taylor Coleridge poem that not only upped the lyrical themes but displayed a stunning array of musical interludes that created a larger than life metal experience. Despite not being a full-fledged progressive album, “Powerslave” displayed many aspects of the genre-to-be with its sheer audacity to take by-the-numbers expectations and ramping them up into unpredictable territories. |
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AFlowerKingCrimson
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Posted: November 08 2016 at 22:49 |
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I don't have a problem with Black Sabbath being in there (in fact I think they don't get the credit they deserve for being an early inspiration) but I don't think Kansas should be in there. I would replace Kansas with something by Uriah Heep or King Crimson(preferably LTIA or Red).
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Jeffro
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Posted: November 09 2016 at 05:24 |
siLLy puPPy wrote:
I have finally completed my list of influential albums that built progressive metal. This is only list 1 and includes the influential albums that led up to the first Watchtower album. A second list of influential prog metal albums to come later |
I like your list. However, the seeds of Rush's turn to prog began with Fly By Night. That album, moreso than Caress is their transition album, imo. By Caress, and through Hemispheres, they were fully into exploring prog concepts.
Edited by Jeffro - November 09 2016 at 05:27
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siLLy puPPy
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Posted: November 09 2016 at 08:43 |
Jeffro wrote:
siLLy puPPy wrote:
I have finally completed my list of influential albums that built progressive metal. This is only list 1 and includes the influential albums that led up to the first Watchtower album. A second list of influential prog metal albums to come later |
I like your list. However, the seeds of Rush's turn to prog began with Fly By Night. That album, moreso than Caress is their transition album, imo. By Caress, and through Hemispheres, they were fully into exploring prog concepts.
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You may be right about that. It's been a while since i've given Fly By Night a spin. I'll check it out and might have to slip it in 
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AFlowerKingCrimson
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Posted: November 09 2016 at 19:22 |
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Other than "By tor and the snow dog" there really isn't much on FBN that is very progressive. It still has much the same sound as the debut but with much more sophisticated lyrics. ;)
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Jeffro
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Posted: November 10 2016 at 04:54 |
AFlowerKingCrimson wrote:
Other than "By tor and the snow dog" there really isn't much on FBN that is very progressive. It still has much the same sound as the debut but with much more sophisticated lyrics. ;) |
Right but that's why I think it's more of a transitional album than Caress. I suppose the argument could be made either way, but with The Necromancer and Fountain of Lamneth on Caress, taking up 32+ minutes of the album, I can't consider that to be a transitional. They were full into it by then.
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50 albums that built progressive metal