prog Archive

Album Review: Circuline — Circulive: New View

For whatever reason, my own tastes with regard to progressive rock lean heavily toward music coming out of the UK. Given the choice between, say, Genesis and Kansas, I’ll always opt for the British group. There are occasional exceptions: the work of Spock’s Beard – especially the Nick D’Virgilio era – is some amazing stuff.

Album Review: Days Between Stations — Giants

Though he’s not credited as such, Billy Sherwood’s extensive role in the making of Days Between Stations’ Giants should earn him membership in the group. Officially, DBS is Oscar Fuentes Bils and Sepand Samzadeh, but Sherwood is co-credited as arranger, producer and composer. Instead, he’s listed as a “guest artist,” alongside bassist Colin Moulding (of

Book Review: Steve Hackett — A Genesis in My Bed

As a longtime fan of early Genesis and the solo work of Steve Hackett – as well as having interviewed Hackett on no less than three occasions and seen him live onstage as well – I simply couldn’t pass up the opportunity to read his autobiography/memoir, A Genesis in My Bed. It would be a

Hello Hello: A Look Back at Caravan’s Second Album (at Fifty)

Rock fans who bought LPs in the late ‘60s and early 1970s may recall that some labels made use of the records’ inner sleeves as means to hype their other offerings. Certainly more elegant than the You-may-also-enjoy* hype that Capitol applied to back covers of Beatles LPs for a time, these full color inner sleeves

Second Verse, Better Than the First: The Choir Reunites (Part 3 of 3)

Continued from Part Two … Jim Bonfanti explains that it was the reunion of The Raspberries that would eventually lead to The Choir getting back together. “We were working on the Pop Art deal,” he says, referring to Omnivore Recordings’ 2CD release of a November 2004 Raspberries concert recording. Released years later in 2017, that

Second Verse, Better Than the First: The Choir Reunites (Part 2 of 3)

Continued from Part One … The Choir certainly knew how to rock hard; the group’s cover of The Kinks’ “David Watts” made that plain. But the musicians were at their collective best digging into more complex material. Few bands then or now would think to cover The Nice’s arrangement of Leonard Bernstein’s “America.” But The

Second Verse, Better Than the First: The Choir Reunites (Part 1 of 3)

Omnivore Recordings presents a live reunion of Cleveland late-’60s proto-progressive band Ask a casual rock fan if he or she has heard of The Choir, and you’re likely to get a quizzical look followed by a “no.” Pose the same question to a hardcore music fiend – especially one with a familiarity with the Cleveland

Yes’ ‘Drama’ at 40: A Critical Look Back at the Band’s Most Controversial LP

It’s accepted conventional wisdom now that the 1980s were a tough time for progressive rock. The subgenre enjoyed its heyday – commercially and critically – beginning in the very late 1960s and continuing into the mid- to later part of the ‘70s. And while the revisionist notion that punk “killed” prog is wildly overstated –

One Good Reason: Alan Parsons on the ‘Ammonia Avenue’ Boxed Set … and More (Part Two)

Continued from Part One … Bill Kopp: Back in the ’70s and the early ’80s, did Arista Records ever put pressure on you to assemble a live band? Alan Parsons: No, I don’t think so. They knew my identity was in the studio, and that’s what I was. I was a producer and engineer, and

One Good Reason: Alan Parsons on the ‘Ammonia Avenue’ Boxed Set … and More (Part One)

Alan Parsons is a unique figure in popular music; very few people go from working as a recording engineer and producer to becoming an artist in their own right. After working behind the scenes with the Beatles and Pink Floyd, Parsons formed his own Project (not, he explains, a group). Between 1976 and 1987, the