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Pinecone - Wine Bottle Topper

PROG ARCHIVES intends to be the most complete and powerful progressive rock resource. You can find the progressive rock music discographies from 11,945 bands & artists, 68,123 albums (LP, CD and DVD), 1,894,069 ratings and reviews from 66,443 members who also participate in our active forum. You can also read the new visitors guide (forum page).

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Last 50 reviews
Singles/EPs/Fan Club/Promo, 1983
2.00 | 1 ratings

My Speeding Heart / Champagne And Valium
Kevin Ayers Canterbury Scene

Review by Matti
Prog Reviewer

— First review of this album —
One of the original Canterbury scene characters, guitarist, bassist and singer-songwriter Kevin Ayers, formerly of The Wilde Flowers and Soft Machine (from which he departed after the 1968 debut album), did some charming solo albums between 1969 and 1974. After that period his artistic level notably decreased. Diamond Jack and the Queen of Pain (1983) is his tenth solo album. Safe to say it has almost nothing to do with the Canterbury style, not to mention prog. It's a commercially produced, synthetic pop-rock album of its time and it even features Linn drum programming. Both songs of this single are from that album.

'My Speeding Heart' is an uptempo rocker that sounds very American, not least because of the female backing vocals. The whole song consists mostly of the song title repeated over and over. Kevin's vocals are naturally still very distinctive. There's a brief slower section with interesting keyboard parts, but it's not enough to save the song.

'Champagne and Valium' is also produced to sound American, but in its relaxed blues-jazz approach it's actually quite enjoyable. Perhaps this is musically a bit more convincing than the slightly similar 'Waiting for the Big One' from Peter Gabriel's debut album. The jazzy saxophone is nice. Without having listened to the source album entirely I can only guess, relying on the sole review here, that this song is among the better ones on it. Two stars deserved, so and so.


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Studio Album, 2022
4.19 | 25 ratings

Above Cirrus
Pure Reason Revolution Crossover Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

So glad to see these creative musicians keeping at it after their previous ten-year break before 2020's Eupnea reunion.

1. "Our Prism" (3:34) awesome heavy prog soundscape with great, powerful singing and textures. Great opener. A top three song for me. (9/10)

2. "New Kind of Evil" (8:32) feels like something found on the cutting room floor from after the Dark Third sessions. Odd pieces spliced together with incomplete-feeling development throughout. (17/20)

3. "Phantoms" (3:51) interesting electronic opening giving this a 1980s sound but once the multiple voice tracks join in and chorus is presented it starts to click. Love drums effects and aural twists and textures in the second and third minutes. Gives me a kind of 21st Century Nirvana meets Bowie feel. Another top three song. (9/10)

4. "Cruel Deliverance" (5:56) a song that seems to start without a beginning, to appear/form as if out of nothing, and then to develop chaotically, as if without a plan or without intention. Truly an interesting feel! And yet it comes together behind the repetitive choral delivery of the title phrase. Good stuff. Interesting eerie stuff in the end recitation. (8.75/10)

5. "Scream Sideways" (10:10) great four-minute intro reminiscent of the Dark Third atmospheres-into-heavy prog soundscapes. Not quite as compelling once the first vocal section takes over, but then, at 5:50 a full-on left turn into PINK FLOYD territory takes over before the heavy guitars, raspy vocals, and rich multi-layered harmony vocals join in. To add to the oddness of this composition, the vocal chorus fades at the end of the seventh minute, replaced by a hollow drum machine, which then fades, and then bluesy-heavenly piano play with ethereal multi-voiced (gong- like) vocals over the top before a very heavy MOTORPSYCHO-like instrumental passage takes over at the 9:00 mark. I've got to admit: this is not a song structure I would have predicted from PRR or any band. Risky, brave, and odd. Does it work? I'll tell you after another five or ten listens. (17.25/20)

6. "Dead Butterfly (7:09) for the first 1:10 we are treated to piano with gorgeous mutli-track, multi-voiced harmonized vocals. Then heavy guitar chords crash in to help usher in the drums, keys, bass, and guitars for the main body of the song (and the future choruses). The verses are then sung over electro-pop synth fabric with drums and Jon's very heavily treated lead vocal. The electronica sounds and textures used here are quite unusual: I'm not sure if they're retro or totally fresh/new. Some cool codas and diversions within. I find it hard to get past the near-Led Zeppelin/Collective Soul guitar chord phrasing is a bit hard to get past though--even though you eventually get used to it. (13.25/15)

7. "Lucid" (6:49) piano and Jon's solo voce open this one before cool power up segues into great song construct-- great balance between power and delicacy, emotion and atmosphere. Plus, incredible b vox by Chlo�. Definitely a top three song for me. (13.5/15)

Total Time 46:01

More than Eupnea, the band is definitely back on track--back to realizing the potential displayed by their 2003 debut, The Dark Third. I only wish we could hear more of the lovely voice of Chlo� Alper in the lead, but, still, the rich harmony vocal arrangements here are way better than Eupnea and almost as good as those from the early 2000s. And the sound engineering and production here is a big step up from Eupnea. Not sure what to make of all the vocal clips at each song's ending--what is the band trying to say/convey here?

B/four stars; not enough to make this a universal recommendations for all, but it is an excellent prog record that many people will love.


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Studio Album, 1978
3.15 | 15 ratings

Electric Glide
Gary Boyle Jazz Rock/Fusion

Review by DangHeck

Isotope's own Gary Boyle followed up his phenomenal 1977 debut, The Dancer, with this one year later: Electric Glide. I had to refresh myself on most of the credited performers here. The great Simon Phillips is back on drums. And of course I recognize Gary Moore of Thin Lizzy and, of most importance to me, Colosseum II, but I'm also learning now he performed with Greg Lake! A note of interest. Bassist Phil Chen sessioned with Jeff Beck; also on bass, John Giblin, I'm now realizing, was familiar in name to me for his work with later Brand X and throughout Kate Bush's career (and perhaps but less likely for Peter Gabriel and David Sylvian album sessions).

"Snap Crackle" starts off on a bright and upbeat note. Classic Fusion with some Funk (as Boyle does). Oh, and Gary's on fire, you say? Yeah, of course he is haha. Some of the sonic choices very much remind me of Steely Dan's Aja. Even for the names I find less recognizable, it's clear this band was stacked. Next is the... wild "Hayabusa"... Like... what is going on now?! haha. What a change in pace! And that pace is rapido. Guitar wizardry galore, from shred and the cleanest, fastest rhythm lines you'll hear to just phenomenal flavors and tones. At one point, sort of reminded me of the pick-every-note style of contemporary guitar great Al Di Meola. This is definitely the sort of thing I would look for in my Fusion. Fantastic start.

Our title track is next, "Electric Glide", and glide we do into a smooooth, smooth number. The percussion here is definitely winning. As if we didn't already know from his first, Gary and Co. are more than capable of laying back and beautifying, too. "Morning Father Joys" continues in the softness, but in a folksy (at times flamenco?) acoustic mode. Quite the change. I like this quite a bit, as a fan of America, for instance, since forever. And even in this, as I mentioned flamenco, there is some wild, impressive playing here as well. "Gaz" brings us on back to Brand X-style Funk Fusion. Cool, cool Funk Fusion, at that. Most of the playing is soft and effects-laden, but around the minute mark is this just frankly entirely unexpected blazing guitar solo haha. A tad longwinded, if anything though.

In our backend, "It's Almost Light Again" unsurprisingly takes us back to the soft and sweet. A lot of tasteful drummin' and bass-playin'. Very pretty. Plenty to like, but not insanely grabbing. "Grumble" is next with some more melodic bass. And impressive drum work to match. I like these final tracks more than "Good", and yet he's done better. We'll all take reprieves and pauses from the norm, but that feels like half the album... "Brat No. 2" is our closer, featuring more delicious acoustic guitar. Not my favorite album closer either... Unfortunate, I suppose?

I feel convicted in this way and therefore back to my old (more hesitant) ways. An appropriate rounding-down...

True Rate: 3.5/5.0


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Studio Album, 1977
4.16 | 30 ratings

The Dancer
Gary Boyle Jazz Rock/Fusion

Review by DangHeck

Another that I'm hearing for the first time in quite a long time. I always felt strongly about it, of course fortified by any time it would grace my ears by way of shuffle. What I hadn't realized before was that this featured the great Rod ["F*cking"] Argent on keys as well as Simon Phillips on drums. Gary Boyle, hailing from the fantastic band Isotope, is an incredibly talented guitarist and this was his debut solo album, 1977, a fantastic era for the genre.

"Cowshed Shuffle", our album opener is one I've always been thrilled to listen to. Fantastic, super feeling Fusion number. Sort of reminiscent to me of Brand X or Colosseum II, perhaps? The title track, "The Dancer" , is another highly memorable number. Bright and upbeat, it is a happy cacophony of percussion and our various melodic instrumentation. This one is also (somewhat therefore) dynamically and texturally interesting. The composition breathes, so to speak. In the groove and the funk, it is an awesome solo showcase for Gary and others (including a wondrous bass solo). I certainly wish I knew who was who (and didn't just assume Argent was the guy here, despite all appearances). So much soloing, though... Sheesh.

Softness ensues on the quick, bass-led "Now That We're Alone". The bassist here is a Doni Harvey. A welcomed reprieve, for sure, and in it, performed in the most delightful and beautiful way. Bass melody continues over the groovy, blaxploitation-esque "Lullaby for a Sleepy Dormhouse". A lot of lovely key-trills are featured here, as well as some tasteful acoustic/classical moments from Gary. Next is the funky, yet spacy, "Almond Burfi" (a Burfi is a sweetened milk-based dessert from India). It's pretty consistently just... statically the same(?) for over 3 minutes and then shifts into a nice bit of quirk in its end. Even so, not the strongest we've heard from it thus far. But again, its last minute or so makes it all worth it. Really, very cool.

Back in the low 'n' slow on "Pendle Mist". Cymbals are singularly hit over soft shimmers of guitar and gliding keys. It's a slow build. And really, it does crescendo pretty much the entire song. Interesting choice. Yet a very of-the-time sort of choice. We are finally back into some stellar groove and solo mastery on "Apple Crumble"! It is a keyboardist's dream. In the last half, Gary takes the helm with a quirky yet blazing solo himself. It does not let up. In the best way. Finally we have the soft and tasty "Maiden Voyage" (totally not me avoiding the word "sexy" on a ProgArchives review /s). Just a fantastic song to close out a very very good Fusion classic.

True Rate: 4.25/5.00


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The Crazy World Of Arthur Brown
The Arthur Brown Band Proto-Prog

Review by DangHeck

This is one of those supposedly special enough Proto-Prog albums that was nearly inescapable for my fellow millennial Prog fans (presuming their journey was comparable to mine). Released 1968, The Crazy World of Arthur Brown was of the darker psychedelic persuasion, contemporary to bands such as Spirit, The Electric Prunes, Ultimate Spinach, 13th Floor Elevators, and Arzachel (Nicholas Greenwood, here, would go on to join two members of that band, Dave Stewart and Steve Hillage, forming the excellent Khan). Crazy World would spawn one other band of early Prog fame, Atomic Rooster, featuring Vincent Crane and eventual drummer Carl Palmer (later of ELP). Just prior to joining Crazy World to replace original drummer Drachen Theaker, I just learned, Palmer was in Chris Farlowe & The Thunderbirds, Farlowe being the eventual vocalist of Atomic Rooster (first appearing on Made In England, 1972) and previously (briefly) Colosseum, which stylistically is all making a helluva lot of sense. It's been nearly 10 years since I've last listened to this album, and I am so much readier than before. Although I will have listened through (most of) the 2010 Remaster, this will be a review for the original 10-song album.

"Prelude" in all its eeriness opens up our album into "Nightmare", a boisterous organ-led number (as most are). Arthur Brown's voice is absolutely insane, and to think this was released in '68 is a whole other thing. For those unfamiliar with him, his voice is a deep, rich and dramatic baritone, but at times he utilizes this effectively piercing falsetto. Huge opener. Orchestral arrangements, as with the woodwinds on "Nightmare" and the horns on the next, "Fanfare / Fire Poem", were handled by Crane. This is of course then the intro, of sorts, to the signature Arthur Brown tune that has been solidified in history, "Fire". This song is far richer than I remember. It's easy to recall the chorus and of course his bold opening statement ("I am the God of Hellfire!"), the latter becoming a calling card of sorts, but this song is a big'n. It's dark and layered, especially thanks to the excellent horn arrangement here.

Our apparent theme continues on the dark, soulful "Come & Buy" (a play on words, no?). The rhythm section is so grooving, and the composition, here (as is the varied trend throughout) written by Brown and Crane, is phenomenal. It's so well fitted with a larger orchestral ensemble than tracks before. It's easy to hear the effect Brown had on bassist (Sean?!) Nicholas Greenwood. A stark juxtaposition is found in the softer, introspective "Time"... And all seems to hush before "Confusion". This second half of this two-parter is more intense, yet still softer in tone. And thus ends the first side. Dark and looming forces preside here...

Next we have the Screamin' Jay Hawkins' tune "I Put a Spell on You". And we all know it, I'd think. This will definitely help to bring you back to the reality of Brown and Co.'s influences. Their rendition is, of course, quite dark, but ultimately a super classic feel, and how could it not be? Rapid string-plucks introduce our next, "Spontaneous Apple Creation", and such a wild feeling was produced in me. And here, I had mentioned before Arzachel as contemporaries (and sure, they are), but I have to wonder to what degree Vincent Crane influenced the early sound of Dave Stewart on organ (he later going on to form the Arzachel-offshoot Egg as well). Just some wild sounds that are rather surprising to hear this early on (just a year before Arzachel).

Our final moments ease into the shockingly upbeat "Rest Cure", certainly the least progressive number of the whole: Blue Eyed Soul as performed by a dramatic, seemingly crazed Englishman. Greenwood has a stronger nearly melodic performance on bass here. If you know Khan, you know he's got a lot to offer in this field. I guess it makes sense with a title like this, but "I've Got Money" continues in the wildly upbeat and positive feeling of the last. Not super exciting compositionally, but still a fun track. Finally we have the 7-minute "Child of My Kingdom", which feels perhaps like what he was prepared to accomplish with Kingdom Come. Ultimately, much of this tune is R'n'B. Just feels like a comparably weak overall ending to an otherwise fantastic album. And that all to say that there really isn't a weak song, a song on here that I would deem less than "Good"; thus the undeniable strength of the start won me over to a firm 4/5 stars.


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Studio Album, 2022
4.08 | 11 ratings

Daal Eclectic Prog

Review by WJA-K

Daal knows how to create music. Their instrumentation is top notch. I can imagine that people have an great time listening to Daedelus.

But I miss a couple of things: - I miss originality. This is an album that walks the beaten track. No song does sound as if we hear something new. - I miss a certain spirit. It sounds a bit flat to me. They create nice-sounding music, great melodies and pleasant solos. But there's no grit. Not enough soul for my taste.

A lack of originality can be mended by some grit. A lack of grit can be fully compensated with originality. But if both are lacking, listening becomes a chore for me.

I'm certain there's a public for this music. But as a prog fan who's always looking for new angles, this is not for me.

Every record I review is rated based upon the same standards. Regardless if it is deemed a classic of the golden age or something completely new. This is why I rate this 2 stars. For fans only.


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Live, 2022
4.00 | 1 ratings

Live Cuts Esbjerg 1979
SBB Eclectic Prog

Review by MChPro

— First review of this album —
In May 1979, SBB gave five concerts which have stirred great emotions among the band's fans to this day. The short Danish tour, whose parts would later be broadcast by the Polish Radio, opened a new chapter for SBB. The musicians returned to tried and tested solutions and along with their highlights (including "Going Away" suite or "Follow My Dream") again went on to play long and extended improvisations.

The two-disc album features the recording of the full concert which took place on 1 May 1979 in Esbjerg (Denmark), reconstructed and remastered based on original tapes from the band's archives. The release cover artwork is previously unpublished graphic by Marek Goebel, known from the LP project "Ze słowem biegnę do ciebie". The booklet includes a new liner notes, photos and memorabilia.


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Singles/EPs/Fan Club/Promo, 1968
3.04 | 4 ratings

Early Morning / Mr. Sunshine
Barclay James Harvest Crossover Prog

Review by Matti
Prog Reviewer

-- First review for this single --

B.J.H. released their eponymous debut album in 1970 at which point they already had a few years' history, and a bunch of singles that were not to be included on original albums. The four-piece group were founded in September 1966 in Oldham, and the name was invented in a haphazard way: "Each of the band members wrote single words on pieces of paper which were drawn out of a hat one by one. All were rejected until only three were left: James, a man who used to sing with the band, Harvest because they were living in a farmhouse, and Barclay after Barclays bank, because they aspired to make money. These were then rearranged to get the best-sounding name - Barclay James Harvest." (Wikipedia). In February 1968 they went into London's Chappell Studios to record their first single 'Early Morning'.

According to B.J.H.'s internet page and the particular page written on the single's 40th anniversary, "the band had been much impressed with Procol Harum's 'A Whiter Shade of Pale', and aspired to produce something comparable in feeling". The song however turned out to be quite different, and "thank God we didn't use a Hammond!", Woolly Wolstenholme states. Seemingly he co-wrote the song with John Lees, a rare occasion for a group whose members practically always wrote their songs individually.

Beginning with a frail flute sound of Mellotron -- reminiscent of the one in Uriah Heep's 'Come Away Melinda' -- 'Early Morning' is a peaceful and highly melodic little song of its time. The early mellow hits of Aphrodite's Child are slightly similar in the romantic atmosphere. The Mellotron dominates the sound the same way as in the late sixties songs of The Moody Blues to whom B.J.H. were constantly compared, for an obvious reason. Again citing the mentioned web page, "Whilst 'Early Morning' wasn't a hit, the response was encouraging and the reviews good. Most importantly, though, it laid down a marker for the English pastoral sound which would become one of the band's trademarks."

The B-side song 'Mr. Sunshine' has a serene hippie-folk feel to it, mostly because of the light hand percussion and the recorder. Sounds like Woolly is the lead vocalist, backed with some vocal harmonies. Both of these songs are pretty charming in their naiive innocence, but frankly after the chain of non-album singles the band would mature a lot, most of all as songwriters, for their debut album -- despite the fact that the debut (1970) is still basically the late sixties orchestral pop when compared to the magnificent second album Once Again (1971).


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Studio Album, 2020
3.91 | 164 ratings

Gazpacho Crossover Prog

Review by Mellotron Storm
Prog Reviewer

I remember the buzz about this band around 2007 on here and the frustration that none of the North American vendors carried their music. I ended up getting a cdr of "Night" from a buddy in The Netherlands before their music was finally made available over here. So I have their 2005 "Firebird", 2007 "Night", 2009 "Tick Tock" and 2010 "Missa Atropus" before I bailed and waited to hear if they did anything close to "Night" which is by far their best recording. In fact if I hadn't have played it a couple of months ago I probably wouldn't have taken a chance on this their latest studio album from 2020. This may go down as my most regrettable purchase since getting back into the game. It's been a long time since I've popped a cd out because I didn't have the patience but that happened.

One thing that made this different was the choir that comes and goes on that 19 1/2 minute opener "Space Cowboy" and the next track "Hourglass". There is nothing in the liner notes that even mentions them let alone gives a credit. That opener is a long one and a little too sparse at times. It did get surprisingly heavy after 9 minutes. "Hourglass" is close to being ballad-like with the piano and vocals but then the choir replaces the vocals followed by the choirs being replaced by violin. I don't like the title track. Just a little too commercial sounding and the drums sound bad. "Antique" is another relaxed tune with vocals and atmosphere although we get some brief power after 5 minutes. "Sapien" ends it and again mellow stuff but with brief outbursts that come and go. There's vocals and not much else after 11 minutes before picking up some late without vocals.

Man this was so hard to get through but I'm at least thankful that I own "Night" a very special recording. This one went over my head.


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Studio Album, 2022
3.91 | 19 ratings

Sapiens Chapitre 3/3: Actum
Jean-Pierre Louveton Crossover Prog

Review by JohnProg

With a style that combines the most traditional forms of progressive rock with the strength of Hard Rock - Heavy Metal, Jean-Pierre Louveton set out to make a trilogy of albums 'SAPIENS CHAPITRE' with a Dystopian science fiction theme - with certain allusions to the condition human - ending with the album 'Actum'. One might think then that this is a pretentious work - partly due to the idea of ​​playing transcendental themes - but the truth is that the music - which is what should matter most to us - does not become excessive or mannerist, instead, it What we have is an austere album (within the parameters of progressive rock, of course) that doesn't seek to surprise with gratuitous virtuosity (even when dealing with a brilliant guitarist) or far-fetched formulas. Each instrument is played on its own to create counterpoints between exquisite melodies and strong moments (like the great riff on 'Dansez Maintenant'). Even in the latest composition 'Memento Mori', the themes develop naturally - ranging from small orchestrations to more jazzy moments - without giving the impression that we are dealing with an epic or definitive work.

I recommend not only listening to this interesting album but also reviewing the complete trilogy, which both fans of classic progressive rock and enthusiasts of more modern proposals may like.


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  1. Close to the Edge
  2. Selling England by the Pound
  3. Wish You Were Here
    Pink Floyd
  4. In the Court of the Crimson King
    King Crimson
  5. Thick as a Brick
    Jethro Tull
  6. The Dark Side of the Moon
    Pink Floyd
  7. Foxtrot
  8. Red
    King Crimson
  9. Animals
    Pink Floyd
  10. Godbluff
    Van Der Graaf Generator
  11. Fragile
  12. Pawn Hearts
    Van Der Graaf Generator
  13. Nursery Cryme
  14. Larks' Tongues in Aspic
    King Crimson
  15. Mirage
  16. Per Un Amico
    Premiata Forneria Marconi (PFM)
  17. Moonmadness
  18. Moving Pictures
  19. Relayer
  20. Darwin!
    Banco Del Mutuo Soccorso
  21. Hemispheres
  22. Aqualung
    Jethro Tull
  23. Io Sono Nato Libero
    Banco Del Mutuo Soccorso
  24. Hybris
  25. Hot Rats
    Frank Zappa
  26. In a Glass House
    Gentle Giant
  27. Si on avait besoin d'une cinqui�me saison
  28. Kind of Blue
    Miles Davis
  29. Storia Di Un Minuto
    Premiata Forneria Marconi (PFM)
  30. A Farewell to Kings
  31. H To He, Who Am The Only One
    Van Der Graaf Generator
  32. Birds of Fire
    Mahavishnu Orchestra
  33. Metropolis Part 2 - Scenes from a Memory
    Dream Theater
  34. The Yes Album
  35. The Lamb Lies Down on Broadway
  36. Octopus
    Gentle Giant
  37. 50pcs PCI Bracket Slot Case Dust Filter PC Case Dust Proof Black
  38. Scheherazade and Other Stories
  39. In the Land of Grey and Pink
  40. Images and Words
    Dream Theater
  41. Zarathustra
    Museo Rosenbach
  42. The Power and the Glory
    Gentle Giant
  43. The Grand Wazoo
    Frank Zappa
  44. The Snow Goose
  45. Crime of the Century
  46. Meddle
    Pink Floyd
  47. Still Life
    Van Der Graaf Generator
  48. Free Hand
    Gentle Giant
  49. The Silent Corner And The Empty Stage
    Peter Hammill
  50. The Mothers of Invention: One Size Fits All
    Frank Zappa
  51. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  52. Ommadawn
    Mike Oldfield
  53. The Raven That Refused to Sing (and Other Stories)
    Steven Wilson
  54. A Trick of the Tail
  55. Hand. Cannot. Erase.
    Steven Wilson
  56. Still Life
  57. Rock Bottom
    Robert Wyatt
  58. Acquiring the Taste
    Gentle Giant
  59. Fear Of A Blank Planet
    Porcupine Tree
  60. The Inner Mounting Flame
    Mahavishnu Orchestra
  61. A Drop of Light
    All Traps On Earth
  62. Permanent Waves
  63. Depois do Fim
  64. Romantic Warrior
    Return To Forever
  65. Mekan�k Destrukt�w Kommand�h
  66. In Absentia
    Porcupine Tree
  67. Space Shanty
  68. Obscura
  69. Hatfield and the North
    Hatfield And The North
  70. Blackwater Park
    AOL America Online Windows 8.0 Aliens tin CD case sealed never u
  71. Misplaced Childhood
  72. Dwellers of the Deep
  73. Ghost Reveries
    Women's Medium Coverage Tab Hipster Bikini Bottom - Kona Sol Siz
  74. Radio Gnome Invisible Vol. 3 - You
  75. 4 visions
  76. Arbeit Macht Frei
  77. Viljans �ga
  78. Symbolic
  79. Spectrum
    Billy Cobham
  80. Script for a Jester's Tear
  81. Hamburger Concerto
  82. Voyage of the Acolyte
    Steve Hackett
  83. Emerson Lake & Palmer
    Emerson Lake & Palmer
  84. In A Silent Way
    Miles Davis
  85. If I Could Do It All Over Again, I'd Do It All Over You
  86. Second Life Syndrome
  87. Ashes Are Burning
  88. Crimson
    Edge Of Sanity
  89. Felona E Sorona
    Le Orme
  90. Bitches Brew
    Miles Davis
  91. Maxophone
  92. Of Queues and Cures
    National Health
  93. The Road of Bones
  94. K.A (K�hntark�sz Anteria)
  95. Sing to God
  96. Anabelas
  97. Operation: Mindcrime
  98. Elegant Gypsy
    Al Di Meola
  99. Rubycon
    Tangerine Dream
  100. Remedy Lane
    Pain Of Salvation

* Weighted Ratings (aka WR), used for ordering, is cached and re-calculated every 15 minutes.


Collaborators Only

ratings only excluded in count
  1. Mellotron Storm (4537)
  2. Sean Trane (3161)
  3. Warthur (3050)
  4. ZowieZiggy (2931)
  5. apps79 (2629)
  6. siLLy puPPy (2259)
  7. UMUR (2179)
  8. b_olariu (2040)
  9. Easy Livin (1932)
  10. kev rowland (1921)
  11. Gatot (1811)
  12. Windhawk (1699)
  13. Conor Fynes (1613)
  14. SouthSideoftheSky (1597)
  15. BrufordFreak (1589)
  16. Tarcisio Moura (1455)
  17. Evolver (1425)
  18. TCat (1407)
  19. Matti (1380)
  20. AtomicCrimsonRush (1340)
  21. Bonnek (1333)
  22. kenethlevine (1319)
  23. snobb (1223)
  24. erik neuteboom (1201)
  25. Finnforest (1146)
  26. tszirmay (1033)
  27. Rivertree (1017)
  28. ClemofNazareth (1011)
  29. octopus-4 (1002)
  30. Cesar Inca (928)
  31. memowakeman (918)
  32. loserboy (897)
  33. Rune2000 (877)
  34. Marty McFly (840)
  35. Guillermo (794)
  36. Neu!mann (759)
  37. Chris S (753)
  38. Eetu Pellonpaa (722)
  39. DamoXt7942 (720)
  40. Aussie-Byrd-Brother (719)
  41. greenback (685)
  42. progrules (666)
  43. Seyo (658)
  44. admireArt (643)
  45. Prog-jester (626)
  46. Epignosis (624)
  47. friso (623)
  48. lor68 (601)
  49. Prog Leviathan (582)
  50. Ivan_Melgar_M (560)
  51. andrea (552)
  52. philippe (540)
  53. VianaProghead (534)
  54. hdfisch (492)
  55. Chicapah (486)
  56. stefro (486)
  57. Menswear (476)
  58. Dobermensch (464)
  59. zravkapt (460)
  60. colorofmoney91 (459)
  61. J-Man (449)
  62. The Crow (447)
  63. ProgShine (444)
  64. russellk (440)
  65. Atavachron (430)
  66. Sinusoid (403)
  67. Queen By-Tor (396)
  68. tarkus1980 (369)
  69. Nightfly (365)
  70. Greger (365)
  71. Zitro (365)
  72. Progfan97402 (362)
  73. Modrigue (360)
  74. fuxi (359)
  75. Cygnus X-2 (353)
  76. lazland (352)
  77. Andrea Cortese (348)
  79. EatThatPhonebook (326)
  80. Guldbamsen (322)
  81. Negoba (320)
  82. FragileKings (316)
  83. richardh (316)
  84. Tom Ozric (306)
  85. patrickq (302)
  86. Kazuhiro (299)
  87. Flucktrot (298)
  88. progaardvark (290)
  89. GruvanDahlman (290)
  90. Proghead (288)
  91. OpethGuitarist (287)
  92. Second Life Syndrome (276)
  93. daveconn (266)
  94. Trotsky (264)
  95. Muzikman (263)
  96. Slartibartfast (261)
  97. clarke2001 (254)
  98. aapatsos (252)
  99. The T (246)
  100. Andy Webb (237)

List of all PA collaborators



black midi

Live Cuts Esbjerg 1979


The Shores Of Oblivion

Sonisk Blodbad

Playing God


Celebrating the Dragon - A Tribute to John Wetton

Various Artists (Tributes)


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