Wake up (Coheed And Cambria, 2005)

I know, I know... Coheed and Cambria are famous for their long, hard and intricate tracks, with fast electric guitar and keyboard solos... and after all they're among the best prog metal acts out there! So I apologise for choosing one of their slow tempo and rather acoustic ballads for my blog, but some of you may know how mellow I can be and - most of all - I like this track so much. Many metal and even more-than-metal bands come up with love songs from time to time and when they do so, they're so sweet and sappy than yhey make the likes of Barry Manilow or the Carpenters sound harsh. 

As the number suggests, this album is part of a longer SF concept.

This is not the case with "Wake up" here: it surely is a lovely ballad, but it never goes maudlin and everything in it has an edgy side: the vocals, the guitar touch, even the lyrics, so that the listener swings between love and loneliness, hope and fear all along the song. That said, the main virtue of this track obviously is its melody, so lovely and nonetheless never too predictable. What else? Just enjoy.

Bet On Zero (The Aaron Clift Experiment, 2023)

Here's an unusual way to conceive rock, an open-minded, border-free, well thought out way. In a word, the most prog approach to music. The Austin-based Aaron Clift Experiment (you'll find more reviews about them in my blog) are an eclectic and creative ensemble formed by Mr. Clift himself, always attracted to experimentation, but never hermetic or puzzling. They like good music and they like to communicate their emotions via their songs, something I highly appreciate. Last but not least, they're very skilled performers, which one shouldn't take for granted.

Fumihito Sugawara is responsible for this beauticul cover art.

This track is taken by their (forthcoming, when I write this review) 2023 "The Age of Misinformation" album and features the Big Wy's Brass Band, a wonderful addition to the band's line up. It's a jazzy, even soul prog rock, displaying a well written main theme and a beautiful instrumental bridge, including a sax solo followed by an enthralling jazz rock instrumental section, and ending with an excellent drum tour de force. The swinging finale is another highlight of "Bet on Zero" and I bet you'll like the whole song (and the whole album, as a matter of fact).

Utopia (Todd Rundgren's Utopia, 1974)

Todd Rundgren is a highly underrated composer, IMHO. His eclectic approach to music surely didn't help him, but allowed his songs to keep their charm intact during many decades. This track - a virtual three movements suite - is the most known piece de resistance of Utopia, the band Rundgren founded in 1973 to empower a pop oriented solo career he had begun in 1970. However essential for the band's history, "Utopia" (also known as "Utopia Theme") was never recorded in studio and its live version - at the Fox Theater in Atlant, November 8th 1973 - filled the first side of Utopia's debut album. 

...And I even like this puzzling cover art!

As I said before, we can (very) roughly divide this epic into three parts, the first one offering a highly dynamic jazzy prog, the second one exploring the operatic and pompous side of pop-rock with a beautiful, catching sung theme and finally the third one stromgly rooted into the symphonic rock ground. Manifold and unpredictable as it it, "Utopia" still is a coherent piece of music, as if the same scene was described from three different points of view. I know many critics dislike this track and label it as pretentious and showy, but I hope you'll forgive me if I say I'm always moved by it. And all in all, this is why I like prog.

Zombieroch (Hands, 1977)

Hands are an American band with two dfferent lives. Founded in the mid-seventies, they released an amateur album that was not successful, so that Hands - after an intense touring season - disbanded and were almost forgotten. The re-release of their album in 1996 changed somewhat their destiny and a renewed interest among the progfans community brought these musicians to revive Hands with a slightly different line up and to release some new albums. 

The 1996 reissue of Hand's debut album plus early songs.

This track, however, is the instrumental opener of their reissued early works and features some of the band's highlights: a lively folk rock taste, a recognizable Jethro Tull and Kansas influence, a creative use of many acoustic and electric instruments and - last but not least - an uncommon ironic side. Even if their original production wasn't perfect, the re-release of this track (and of the album, together with more early materials) souds pretty good and brings back to our ears all the colours of its era.  

Absent Lovers (The Aaron Clift Experiment, 2018)

The Aaron Clift Experiment is a highly skilled trio based in Austin, Texas and leaded by Mr Clift with an open wided and eclectic approach to prog. Their records include many of my favourite features: tempo changes, unpredictable passages, acoustic/electric mix and, last but not least, an enviable balance of old glorious sounds and up-to-date solutions. That said, "Absent Lovers" comes from the band's 2018 album "If All Goes Wrong" and deliciously swings between dreaming moods and vigorous progressions. 

"If All Goes Wrong" is the third studio album by the band.

As usual, Aaron's voice is strong and tense, while the guest string trio (violin, viola and cello) and Fred Springer's classical guitar add a special charm to the composition. You'll find some welcome King Crimson  and early Genesis hints here and there, but also a remarkable coherence of such a rich musical plot. "Abesent Lovers" is divided into three acts, kind of a mini-suite following the sea scented lyrics, based on the hero's return, an emotional rendering of the Odyssey I really appreciate. Here I point up another highlight of Aaron & friends: despite their literary references and their lushing instrumentation, they never go showy and their music has the grace and the soundness we expect on good prog rock. 

In The Dark (Matthew Parmenter, 2008)

Matthew Parmenter of Discipline fame (see elsewhere in this blog) is a very interesting musician and composer, during both his band member and solo careers. This song, taken from the album "Horror Express", is strongly influenced by Hammill and VDGG moods, and is a highly dramatic one, matching irregular melodies and dark lyrics. Sad and hypnotic passages, based on obsessive piano and percussion paces, deeply dig into the singer's and the listener's souls, with no concessions to easy tunes nor predictable developments.

No doubt this is a disquieting cover art. Well, the music inside too.

Each note here has its own part of sorrow, still the whole composition is such a beautiful emotional clockwork that it mixes sad thoughts and majestic beauty. That's why "In The Dark" isn't a mere musical trip, but an inner experience I highly recommend to you all. And if you happen to share my opinion, don't hesitate and go on discovering other songs by Mr. Parmenter. Something tells me you won't be disappointed.

The Light (Kansas, 2001)

Released as a digital single and also sdded as a bonus track to the Christmas album "Sounds Like Christmas" by The December People(see elsewhere in this blog), this song has a seasonal flavour, even if in a discreet way. It's a very good track, IMHO,  exploiting all the traditional features of Kansas, from Steve Walsh's powerful vocals to the melodic rock texture.

                            

This single came one year after the reunion album

"Somewhere to Elsewhere"

This catchy and bombastic ballad has a warming and strong arrangement, including symphonic interludes and arena rock solutions. The lyrics about the search of the light is inspired to the three kings' journey, but fits very well into any spiritual quest. A different and proggy way to Christmas, and another living proof of this band's energy and inspiration.

Abstract Malady (Ajalon, 2009)

Ajalon are a very good American trio, playing glorious powerful prog with Christian lyrics and a Seventies mood. Listening to this "Abstract Malady", taken from the album "This Good Place", you'll be no surprised to know that Ajalon started their career signing with Rick Wakeman's label and set up collaborations with Neal Morse. Their flushing kind of music, full of changes and colourful interplays reminds me of Rick's and Neal's passionate compositions and surely include all the main features of the old good progmasters.

 

"The Good Place" was the third studio album by Ajalon.

A special mention goes to keyboardist and guitarist Randy George, equally at his ease when it comes to devilish solos or to relaxed, dreamy parts. This instrumental should describe  an inner malaise, a spiritual mal de vivre and I think it actually does so, lining up harsh and melancholic sections in a well built pattern. A beautiful specimen of prog, IMHO.

The Count of Tuscany (Dream Theater, 2009)

This is a magnificent example of Dream Theater's fully progressive songs and comes from the album "Black Clouds & Silver Linings". True, some distorted guitars and high volume passages are there, but never too intrusive and perfectly mixed with the underlying melodic lines. How beautiful this long track is! The vocal harmonies, the guitars, the unpredictable changes... everything is perfect!

"Black Clouds & Silver Linings" was DT's tenth studio work.

Most of all, this is the brainchild of a well organized band, where each member has its own place and no one uselessly shows off his skills. I like the devilish interplays, the heartbreaking openings on wider horizons and, of course, the atmospheric passages. In short, this is prog rock at its best and even the eccentric lyrics about the Count and his brother are fit into the big picture. Enjoy.

Movement for The Common Man (Styx, 1972)

ELP were not the only band fascinated by Aaron Copland's "Fanfare for The Common Man", a brass and percussion piece of music written in 1942. Also Styx included in their debut album a four sections mini-suite, including Copland's composition as the third movement. Styx created a rather strange and highly interesting song, based on a composite pattern and lining up four very different moments, apparently ill-matched, but actually forming a pleasant and coherent musical fresco. 

 

The "Movement" suite opens beautifully this album.

The mainstream rock elements are set up as the core of a broad and brave exploration of so many faces of musical culture as it was established in the early Seventies. You'll find the classical side, the folk tempations, the USA Southern rock influence, the pop canons and so on. Such a manifold recipe is wisely cooked by Styx, balancing rock riffs, dreamy melodies and mid-tempo ballads... so enjoy your meal... pardon, I meant your music!

One Wish (Circuline, 2015)

Recently, I read a lot of reviews about this American band and especially about a bunch of songs  taken from their album "Return". Some said they're great, some said they're just trash. Better go and listen. I did so and I found out a very original, deplacing mix: dissonant chords, easy melodies, vintage arrangements and strong contrasts. Take this "One Wish", likely my favourite one. The double singer idea is brilliant, IMHO, adding a plus to the band, especially on stage.

"Return" was the debut album by Circuline.

You surely need some time to set up your mind , as it features so many different elements, ranging from melodic themes to distorted guitar riffs. The fact is you love or hate Circuline: you can find them excessive or pompous, but you can't deny they know how to organize an impressive series of ideas and conjure up a lushing, still coherent song. Open minded, I daresay.

Light in The Doorway (Atom Orr, 2016)

I immediately liked the opening song of Atom Orr's EP "Light in The Doorway", but listening to the following tracks I liked them too, so I took my time and finally decided to come back to my first coup de coeur. So here you are the EP's title track to begin with. Christopher Hoffee, the man behind this project, actually set up a little jewel, a modern way to progressive rock  that also pays respect to some of the past Masters.

This interesting EP includes four long and diversified songs.

 

Take the intro: a heartbreaking syncopated rythm, something between Yes and IQ, that suddenly leaves its place to a more relaxed and ethnic-flavoured passage that reminds me of Gong and George Harrison. And then... the first theme comes back, with an added dose of energy and an electronic coda. A coherent song, featuring a very well balanced mix of old and new, and also a hearty, sensitive vocal performance. This is what prog will need to go on: an open-minded approach with a feeling.

Destiny (Journey, 1980)

After their prog debut album, Journey decided for a more commercial approach, but when in 1980 they were asked to compose the soundtrack of a Japanese film, they felt free to set up more complex and unpredictable songs. The resulting album titled "Dream, After Dream" included this opening track, a rather long one (9 minutes, more or less) featuring a very good and atmospheric sung theme and an abundant choice of instrumental passages, both slow and fast tempo.

...And I also like this cover art. Don't you?

The contrasts are strong: the melancholic intro, then a rocky, heavy section, followed by a dreamy guitar solo (how good this one is...) and finally a brief, weird electronic coda. I really like this song (and also some more from the album), showing what Journey could have done had they chosen a progger way. True, this coming back to their roots will be a short-lived one, but good music is there to stay, and I'll always listen to "Destiny" with the greatest pleasure.

The Sunset Gate (Glass Hammer, 2012)

Glass Hammer are one of the most coherent and enduring bands out there. This song comes from their "Perilous" album, kind of a long suite divided into 13 tracks, each one also can be considered as a stand alone piece. "The Sunset Gate" opens the concept, based on a perilous journey beyond the cemetery gates. It is interesting to say that the song titles, when read in sequence, form a charming poem, complying with metrics and rhyme rules. "The Sunset Gates" is a very good track, featuring a long and atmospheric instrumental intro, starting with an acoustic set, soon improved by the electric instruments.

"Perilous" was the thinteenth studio album by Glass Hammer.

When Jon Davison's vocals come in, the magic is perfect (and after all it isn't so easy to become a member of Yes, is it?) and the melodies are so well found and performed that I completely forget the slight lack of originality many listeners impute to Glass Hammer. Dark and charming, this track lines up majestic moments and confidential passages with the right amount of good taste such a deed involves.

Premise of Life (Covenant, 1992)

David (Dave) Cryder is no doubt a skilled drummer and he played (and still plays) in many US bands, in as different genres as blues-rock and death metal. When he decided to go solo, he created this one-man band and explored our favourite genre, that's to say progressive rock, most precisely its symphonic side. Playing all the instruments, Cryder creates three tracks (two long epics and a song) to build up Covenant's  sole work to date, titled "Nature's Divine Reflection", actually the proggest name you could find for a CD.

Such a pity Cryder abandoned the Covenant project so soon.

"Premise of Life" is the opening suite, a kaleidoscope of devilish keyboards, highly dynamic drums and - that's probably why I chose this particular song - very good bass lines ang a guitar solo, all played by guest musician Bill Pohl. This added instruments give a more balanced sound to a composition packed with good ideas and well found changes. Obviously, the vast choice of keyboards is one of the highlights of "Premise of Life", but I do think the tempo variations and the enthralling progressions also are worth the listener's attention. If you like vintage heavy prog, don't miss this one.

A Change of Seasons (Dream Theater, 1995)

This suite is also the title track of the first EP released by Dream Theater. Sure, it sounds strange that an EP should last more that 50 minutes, but after all the track I'm introducing here is the only new composition of the CD, also including four beautiful cover versions ranging from Elton John to Genesis. And Genesis surely are among the main influences of this suite, lining up seven movements and a great deal of changes in mood, tempo and even genre. 

 

"A Change of Seasons" can be considered as one of DT's best records.

As "A Change of Seasons" was the first DT's song featuring Derek Sherinian on keyboards, his contribution is remarkable and somehow singles out this song, even if most of the music was composed long before his joining the band. The classically prog passages are cleverly mixed with metal-prog parts (not too hard, that's to say), atmospheric moments and also some charming acoustic parts. As usual, the melodies are first rate and the lyrics deal with the seasons of life, a reflection inspired to Portnoy by his mother's death. An excellent epic, a higly recommended piece of progressive rock.

The Little Drummer Boy (The December People, 2001)

What on Earth "The Little Drummer Boy" is doing here? First things first: "The December People" are a project by Robert Berry, the American guitarist once involved with Keith Emerson and Carl Palmer in the short lived band called "3". He decided to set up a band of his own playing Christmas songs and carols in the style of the most celebrated classic rock bands. So, in their records you'll come across a "Silent Night" version sounding like "The Great Gig in The Sky", a "What Child Is This?" performance reminiscent of "The Lamb Lies down on Broadway" and even a "Stairway to Heaven"-ish reddition of "'Twas The Night Before Christmas"!

This record has both Christmas and prog rock charms.

The band's still touring and recording this way and their best CD is, in my humble opinion, the debut album "Sounds Like Christmas", including all the above songs and gathering important guests like John Wetton and Steve Walsh. This version of "The Little Drummer Boy" in the wake of ELP is simply stunning. It's a real prog-ification of the innocent carol we all know, featuring all the explosive style of the powerful trio. Weird? Impossible? Mundane? Just listen to it and let me know...

No One Together (Kansas, 1980)

This is another specimen of pure Kansas-style song. Taken from 1980 album "Audio-Visions", it features all the best elements that builded up the legend of this American band. You name it: The devilish gigas, the catchy chorus, the abrupt volume changes, Steve Walsh' splendid voice, the double keyboard interplays, the guitar solos and the piano sharp chords... all in one package!

"Audio-Visions" was the seventh studio album by Kansas.

More than this, "No One Together" proves how great Kansas are when it comes to mix acoustic and electric instruments in such a coherent pot that you hardly perceive them individually. This symphonic track also includes country and vaudeville elements, adding a brighter tone to the big picture. That's why if I admit "Audio-Visions" isn't the best Kansas album by far, this song surely stand among their best rated releases.

Mei (Echolyn, 2002)

More than a concept album, "Mei" is a concept song, as it only includes this very long and undivided suite lasting some 50 minutes. It would be useless to try a description in a few lines, so I better like to express some of the feelings this musical river inspires me. First of all, the seven piece chamber orchestra joining the band in the studio give a classical-but-never-too-much taste to these abundant materials and also empower the arrangements choices, so that this record is even more eclectic than usual (and that's saying something with Echolyn!).

"Mei" was the Sixth full-lenght studio album by Echolyn.

No doubt, the beautiful melodies are another strong point of "Mei" and so are the careful and tasteful changes in tempo and mood, but please don't forget the lyrics. The whole epic is kind of a road song, dealing with a both real and imaginary trip, an everlasting journey on everchanging roads. Something like a surrealistic Kerouac or a realistic Lamb Lies down on Broadway. Well, the inspirations aren't essential: all that matters here is the beauty of such a progressive masterpiece.

Feel The Cold (North Star, 1985)

I read many negative  reviews on North Star's records before listening to them. When I finally did it, I found actually unfair most of those low rates. True, these American boys love Genesis and seldom try to reproduce some of the British masters' sounds. But they also have many original solutions, especially when the drums come in. More than this: they write good melodies and perform them well and with the right amount of passion. 

Line-up: brothers Glenn and Kevin Leonard and Joe Newman.

Songs like this "Feel The Cold", the opener of the band's second album,  is full of real emotions and the '70s aren't a mere standard here: they're more like a Wonderland these three boys explore and their sense of wonder is so deep and sincere that it strucks me each time I listen to them. They love the same music I love and they know how to keep it alive. So why should I complain?