Salis - Dopo il Buio la Luce Year: 1979
Score: 85
Style or Subgenre: Rock Progressivo Italiano
My Rank in Year as of this listen: 14th
The Salis Brothers tossed out three albums across the length of the1970s, but their third and final release in 1979 is the only thoroughly progressive, RPI album. And it's a real goodie. The keyboard work, both synth and acoustic piano, is really engaging throughout and the guitar work ain't shabby either. The compositions are solid and I find myself liking the entirely vocal-less pieces best. This just super listenable prog here.
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Atlas - Blรฅ Vardag Year: 1979
Score: 80
Style or Subgenre: Symphonic Prog
My Rank in Year as of this listen: 20th
Here's one of those one off groups, but this time they're not Italian, but rather Swedish. Atlas gave us but one album, and like most of those golden age RPI albums, this one leaves me wanting more. 5 minutes into this album I was all giddy with prog listening excitement as I was getting a solid dose of clever chord progressions, creative time signatures, deft transitions, and some really punchy, active bass underlying the tunes. That didn't quite hold up 100% throughout as the compositions sometimes seemed more just a collection of proggy bits than a well thought out flow that took the listener somewhere new. But still, overall, I give this high marks and will listen to it more while lamenting what could have been.
FischmanRockMonster, JazzMeister, Bluesboy,ClassicalMasterProfile Land of Enchantment
This was a jazz diary post, but with some solid prog connection, I'm adding it here as well.
... the jazz journey rolls into 1977....with a bonus connection!
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Jean Luc Ponty - Cosmic Messenger Year: 1978
Style or Subgenre: Fusion
This is a violin album for people who don't like violin. In addition to violin, Pony plays a lot of synth, and even when he's playing violin, it's run through enough effects that it doesn't really sound like a violin. But most importantly, this is great music. I haven't heard his whole catalog, but from what I have heard, this is one of Ponty's more tuneful albums, probably a great starting place for someone wanting to begin exploring fusion.
Joanne Brackeen with Ryo Kawasaki - Trinkets and Things Year: 1978
Style or Subgenre: Post Bop
I can never get enough Joanne Brackeen. When I saw new-to-me this album as a '78 release, I had to slip it into this year's edition of my latest jazz journey. I was not disappointed. When soloing, she is as dynamic as ever. She is equally adept at providing a foundation for virtuoso guitarist Kawasaki's flights of fancy. And when the two get going together, it blows my musical mind in the best possible way. This may not be the most acclaimed entry in the Brackeen discography, but it is both unique in her output and as brilliant as ever. Interestingly, as I was listening to it for the first time, I couldn't help but recall a 2000 duo release from Dream Theater virtuosos John Petrucci (guitar) and Jordan Rudess (piano), which I had to slip back into the queue for comparison.
John Petrucci and Jordan Rudess - An Evening with John Petrucci and Jordan Rudess Year: 2000
Style or Subgenre: Free Improv, Neo Prog
Upon pulling this out from my collection and listening to it immediately following the Brackeen/Kawasaki, I thought it provided a nice compare/contrast experience. The style here contrasts in sound, recording, and the specific direction the virtuosity takes. But the genre and sound contrasts sound superficial relative to the strong comparison in approach; both albums excel due to the incredible, uber-sympathetic interplay between the two musicians on each. Two instruments, one musical mind, one vision, and a fantastic album in each case.
Picchio Dal Pozzo - Abbiamo Tutti I Suoi Problemi Year: 1980
Score: 75
Style or Subgenre: Canterbury Scene
My Rank in Year as of this listen: 42nd
Canterbury Scene is one of the more difficult prog genres to pin down and even in that realm, this album is more eclectic than most. It is impossible to really describe in such terms, let alone label. Suffice it to say, this is totally unique. For almost any ear, some moments will work better than others, but all moments contribute to the highly creative hodgepodge that brings all this together. It's definitely worth a listen for any prog fan, but maybe not subsequent listens for many.
Anyone's Daughter - Anyone's Daughter Year: 1980
Score: 85
Style or Subgenre: Symphonic Prog
My Rank in Year as of this listen: 21st
While the Picchio Dal Pozzo album touched my intrigue more than my appreciation, this album flips that script being not all that interesting on paper, but settling beautifully in my ear. Honestly, as of 1980, this album brings nothing new or particularly progressive (in the general meaning of the word) to its symphonic prog realm, but it does that classic, golden age sound and vibe so well, it's a tremendously welcome addition to the genre. I have read that soft rock hit maker Al Stewart (Year of the Cat), while never having any intention of being a prog musician, was influenced to some degree by prog. This album seems to me a hint of what Al might have done had he dove into the genre.
Fragil - Agenda Larco Year: 1981
Score: 85
Style or Subgenre: Symphonic Prog
My Rank in Year as of this listen: 19th
We're into our second year of the 80s here and it's clear the glory days of prog are behind us at this point, or at least we're in a significant dip. That's what makes this very nice symphonic prog outing such a welcome part of the current year's catalog. This is a great fix for lovers of moody and melodic classic prog.
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Saga - Worlds Apart Year: 1981
Score: 70
Style or Subgenre: Crossover Prog
My Rank in Year as of this listen: 61st
In 1981, I was a freshman in college, raging along with the like of Black Sabbath, Rush, and Triumph, and raging against albums like this because it wasn't heavy enough. Now even then I knew I was digging prog, but still didn't cotton to this, because I didn't really hear it as progressive. With a few decades of ever expanding music appreciation since, I was happy to select this as a 1981 entry for a follow up listen. While my opinion of it has softened a bit, that is probably more of due to a resultant positive glow of nostalgia than the quality of the music itself. It's still not proggy enough to tickle my prog ear, and even though I no longer need heavy music to be impressed, not much else in my range of appreciation is particularly tickled either. I now think of it as a pretty good album for its time, but nothing I carry through as an all time great.
FischmanRockMonster, JazzMeister, Bluesboy,ClassicalMasterProfile Land of Enchantment
Begnagrad - Begnagrad Year: 1982
Score: 85
Style or Subgenre: RIO/Avant Prog
My Rank in Year as of this listen: 12th
Progressive Balkan circus music? That seems to be the best possible description of this bizarre mรฉlange that somehow works astonishingly well. There's improvisation here that would impress a hard core jazz musician, crazy musicianship, no regard whatsoever for an easily discernable structure, and exactly the right attitude to pull it all together. On paper, I shouldn't like this anywhere near as much as I do.
Super Freego - Pourquoi Es-Tu Si Mรฉchant? Year: 1982
Score: 80
Style or Subgenre: Zeuhl
My Rank in Year as of this listen: 19th
Speaking of music I have no business liking! This mostly unknown one off is generally classified by those in the know as Zeuhl meets new wave. What I heard at the start was punk meets prog, which isn't supposed to happen. It is oft said that punk was in part a reaction to the excesses of prog, but here the two exist in a sort of twisted harmony. As the album proceeds, it gets more progressive yet never takes itself too seriously. Prog is criticised as pretentious and Punk certainly has its own brand of exclusivity that manifests as antipretention pretentiousness. None of either appears here. Along the way, you will hear Talking Heads, proto-RHCP, and proto-Primus. What a strange and wonderful stew!
Pablo el Enterrador - Pabo el Enterrador Year: 1983
Score: 80
Style or Subgenre: Symphonic Prog
My Rank in Year as of this listen: 19th
For those who don't know, "enterrador" is Spanish for Gravedigger; interesting protagonist for a prog album. But you know what? You don't have to be able to follow the story to really enjoy the music on this keyboard intensive symphonic prog album. The music here is quite lovely, and flows with both passion and grace. No the 80s didn't totally suck for prog.
Aum - Belorizonte Year: 1983
Score: 80
Style or Subgenre: Jazz Rock Fusion
My Rank in Year as of this listen: 18th
It turns out this is an interesting jazz fusion album, so I figured I'd kill two birds with one stone and make it a 1983 Jazz entry as well. At first this comes across not so much as a classic fusion album, but more of a smooth jazz fusion album, which doesn't sound all that good on paper. But it really does take off and generate some genuinely interesting music with some latter cuts really appealing to the rocker side of my inner fusion fanatic. High recommendation for this obscure Brazilian band.
ะะบะฒะฐัะธัะผ(Aquarium) - ะะตะฝั ะกะตัะตะฑัะฐ (Day of Silver) Year: 1984
Score: 60
Style or Subgenre: Prog Folk
My Rank in Year as of this listen: 62nd
My first 1984 selection comes from behind the Iron Curtain, a rare Russian underground recording a half decade before the end of the Cold War. Prog Folk is often the least prog sounding of prog subgenres, and yet it is a style I generally take to. However, this one is kind of a yawner for me. Proggy or not (mostly not), I just don't find it interesting, and the overly subdued vocals don't help.
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Congreso - Pรกjaros De Arcilla Year: 1984
Score: 80
Style or Subgenre: Prog Folk
My Rank in Year as of this listen: 20th
For my second 1984 choice I stuck with Prog Folk, but hopped back to this side of the pond, however going far south of the border. Congreso is a Chilean prog folk outfit and, while they had often similarly subdued vocals, the music here was far more interesting throughout. The compositions are delicate and draw the listener in in a most inviting manner. The instrumentation is more diverse, employing both modern musical tools along with traditional Andean sounds. The result is unique, listenable, and highly engaging. A real winner.
FischmanRockMonster, JazzMeister, Bluesboy,ClassicalMasterProfile Land of Enchantment
Dream Theater - Images & Words Year: 1992
Score: 100
Style or Subgenre: Prog Metal
My Rank in Year as of this listen: 1st
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Time for a visit with my top DT album, my top progressive metal album, and my #2 album of all time.
In 1992, I thought I would never again be utterly and completely gobsmacked by a new (to me) group.
With Images and Words, Dream Theater proved me utterly wrong.
I remember the introduction perfectly.
I was living in Bedford, MA, and after work I was driving to my night MBA program at Boston College, listening to WAAF, and they played Take the Time. What is this? HOLY CRAP!
Over the coming days, the would also fold Pull Me Under into their rotation. So I was off to my local Tower Records to seek out my own copy of this marvel. Upon taking it home and playing it, I was equally blown away by each and every song. The combination of complexity/density and magnificent melodies and soaring vocals and full bodied production is sheer, utter perfection to my ear. this thing lights up every last happy neural path in my brain.
Every last song on this album is positively brilliant, and yet there is tremendous variety among them. There's blatant, in your face virtuosity and pop worthy hooks. There's magnificent solos and mutually supportive interplay. There's epic length compositional challenges fully realized and there's shorter, quick hits that still pack the same punch. There's ridiculously heavy metal and there's tender balladry. Through it all, this is easily James Labrie's most consistent and overall best vocal performance. DT set an insanely high new bar for keys in metal and this early in his career, Mike Portnoy announced the arrival of his iconic status. If I was to have one itsy-bitsy-teeny-tiny quibble, it would be that bassist John Myung is a phenomenally brilliant player and doesn't get quite effectively employed as he could be.
Glorious album artwork, too.
I have long carried this as my #2 album of all time, but there are as many days as not I think it should be #1.
FischmanRockMonster, JazzMeister, Bluesboy,ClassicalMasterProfile Land of Enchantment
Marillion - Script For a Jester"s Tear Year: 1983
Score: 85
Style or Subgenre: Neo Prog
My Rank in Year as of this listen: 3rd
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Marillion alone is proof the 80s didn't such.
And there's obvious reasons their outstanding debut is widely considered to have set the bar for neo prog (and set it high it did!). The spirit of classic prog permeates throughout, yet the attitude and presentation are appropriately updated.
What struck me most upon today's listen was how densely theatrical this whole album, starting right with the opening melodic themes and even further bolstered by the arrival of Fish and the manner of his vocal delivery. The spirit of Gabriel-era Genesis is the obvious template here, but fortunately Marillion are very much their own beast, and they forgo Genesis's whimsey, substituting in its place a little extra sarcastic bite with a touch of fatalism. Again, Fish's voice is the perfect vehicle for this expression.
I daresay this could even make a pretty fair opera (well, a rock opera at least)
FischmanRockMonster, JazzMeister, Bluesboy,ClassicalMasterProfile Land of Enchantment
La Maschera Di Cera - LuxAde Year: 2006
Score: 85
Style or Subgenre: Rock Progressivo Italiano
My Rank in Year as of this listen: 2nd
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Beautiful acoustic piano, supplanted by a heavy distortion riff, and then comes... the flute! And a beautiful flute it is. Other keys join in.... including both moog and mellotron, blending classic prog sounds with 2006 presentation and production, and it all comes together in a most spectacular way. Compositions are long, and include the necessary interludes at just the right times to manage the expansive lines.
This is one of those RPI albums that seems to get that label more due Italy being the group's home country than anything else. Other than the lyrics being sung in Italian, there's not a lot that's overtly Italian here. Were you to hear it independent of those lyrics, you wouldn't automatically jump to the conclusion this is Italian, let alone RPI. The largest inputs are symphonic prog and heavy prog in roughly equal measure.
This music demands full, powerful vocals, and fortunately, Alessandro Corvaglia is more than up to three task.
Expansive compositions, all manner of keyboards, lots of flute, and a powerhouse vocalist.... not much more I could ask for here.
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