50Prog50: The Best Prog Albums, Part Two

Last time, I hinted that Emerson, Lake & Palmer’s Brain Salad Surgery wasn’t going to be on this list. Perhaps an explanation is in order. First and foremost, this list is about some of the prog albums that stay in high rotation with me. Even at their most self-indulgent, there will be something about the songs on them that can grab me with little coercion. I need to be in a very specific mood to listen to Brain Salad Surgery and, to be blunt, I haven’t been in that mood for almost ten years now.

Also, the bands that show up on this list, even though some might dabble in a rock arrangement of a classical composition here and there, butter their bread with original compositions. ELP is primarily known for recasting those pieces and not so much for their originals. Do I think all three members are tremendous performers? Sure. Do they perform, as a unit, in service of the song? Rarely. Will “Karn Evil 9″ get no love from me? Someday, but not this time out.

Personally, I like the Emerson, Lake and Powell edition the best, but don’t tell anyone I said that.

Now, 31-40.

40. Camel – Stationary Traveler (1984) Last time out, I said that the Alan Parsons Project had no direct descendants, but in their most popular and profitable phase, they did have bands that followed their lead. Although Camel had been around a while, their sort of long form conceptual work (i/e The Snow Goose) was not getting them very far. Band leader and multi-instrumentalist Andy Latimer tried a more streamlined, pop sound prior to Stationary Traveler on The Single Factor (which, all considering, is as honest a title as he could have offered up.) He even enlisted longtime APP vocalist Chris Rainbow, but the songs missed more than they hit.

Stationary Traveler remedies much of this with really good, if somewhat mellow, tracks like “West Berlin” and the sexy “Fingertips,” while Rainbow offers vocals for “Cloak and Dagger Man” and makes the tune nearly a lost cut from APP’s Ammonia Avenue album. The overall concept, tales from the divided Germany, is strong but never so overbearing that it beats you over the head with it. The sound is inextricably ’80s, and the wall is down and Germany is reunified, so consequently this is an album of its time, but it remains an enjoyable Ala — uh, Camel album.

Direct descendants – As it was with Parsons and Woolfson, Camel’s sound here has not spawned a lot of devotees. The same can be said of Camel’s core sound, primarily instrumental, except in the rockier moments of Vangelis and Kitaro’s new-age work.

39. King Crimson – Court of the Crimson King (1969) So I won’t add Brain Salad Surgery but I will add Court Of The Crimson King, another warhorse of the genre? What gives? Prior to joining ELP, Greg Lake did his tour of duty with the Crims and the result is less about co-opting compositions and more about mashing up genres. In the first cut alone, “21st Century Schizoid Man,” you get a heavy-metal plod that erupts into an electric free-jazz excursion. On the last, title cut, you have veddy British minstrel music that gives way to a chorale, a classically structured digression, and you get where I’m going with this.

The cover of the album terrified me as a kid, that nightmarishly pink face, those nostrils, dentristry right off of Fleet Street, it arrived without titles on the front. It was just that shocked face staring up at you from the record racks, and for a kid that was more into pop/rockers like Foreigner at the time, the cover was as ugly as the music inside could, at times, be. Clearly, I’ve gotten over my aversion to the album’s wilder moments, and in retrospect, that image says everything that needs to be said about the music it contains.

Direct descendants – Tool has cited King Crimson as a major influence, as has Porcupine Tree, but more toward the band’s heavier rock phase found on Red (which will be discussed at length later on). Crimson King‘s sound is found in spirit in some of ELP’s own compositions, as does the presence of Greg Lake and lyricist Peter Sinfield. My reference to Foreigner wasn’t an accident, as Crim member Ian McDonald subsequently went on to found that band with Mick Jones (Spooky Tooth) and Lou Gramm.

38. Porcupine Tree – Stupid Dream (1999) I love power pop. This gets me in a lot of trouble with my music friends. How could the frivolity of power pop intermingle with the serious work that is prog? The answer is that every form of lasting music needs a good hook. Beethoven knew it. Duh-duh-duh-DUMMM is, by and large, a hook for the ages.

What gets me in more trouble is when I insist Porcupine Tree’s Stupid Dream is mostly a power pop album, but I don’t care what they think. I’m right, and here’s why: Take the second track, “Piano Lessons,” which deals with a musician struggling with becoming less an artist and more a commodity. The verses have some good humor attached to them, the chorus is catchy and boasts a big harmony. Sure, we tend to think of power pop as having a faster, punchier beat, but aside from that I see no glaring difference. Meanwhile, “This Is No Rehearsal” does have a butt-kicking burst of energy after each chorus. I stand justified.

The orchestration that surrounds the world’s end ballad “A Smart Kid” could easily have sat next to some of ELO’s more somber moments like “One Summer Dream” from Face the Music, or during one of XTC’s more grandiose forays. The scowl the prog-heads make when power pop is uttered ought to be turned upside down. Nobody likes a crank. This album is as good an entryway as any.

Direct descendants – Lately, in the prog field, the sticker “for fans of Porcupine Tree” has been showing up a lot, sometimes inaccurately, but it is an indication of where they now stand within the genre. Two bands that come close enough to be considered correct are Riverside and the Pineapple Thief.

37. Yes – Drama (1980) By the dawn of the Eighties, the headiness of prog in all its forms was too much to bear. Punk lashed out at it, disco denied it, pop drifted farther into the easy listening waters of predictability, but that would not last long. Like I’ve said previously, prog would start to make inroads into the pop world during the decade and make stars out of musicians that were once scorned. It would not have been because of this album, though.

Jon Anderson left the band, but as it goes with Yes, the band carried on without him. Rick Wakeman left too but, by this time, his mercurial nature had already seen him leave a few times, so it was almost to be expected. Their replacements were radical indeed. Trevor Horn and Geoff Downes of the Buggles (“Video Killed The Radio Star”) assumed the positions and, oddly enough, breathed new life into the group. Horn’s voice, while not being dead-on, was a close match for Anderson’s range, while Downes’ keys skills were much more rhythmic and percussive than Wakeman. Wakeman liked the orchestra, but Downes knew how to rock.

The opening “Machine Messiah” is heavy, about as metal as Yes had or will ever come. The closing “Tempus Fugit” is at its core a punk song, which probably did more to tick off punkers than it did to ameliorate them. In between there are some solid rock songs, like “Run Through the Light” and “Does It Really Happen?” and this new energy was really doing the trick for the group. The album’s sales, on the other hand, did bubkus. Downes and Yes guitarist Steve Howe would walk away from the band to form Asia, Horn would step from the mic and become the producer for the next Yes album, the one the prophets talked about, 90125. The road to get there would be rocky, though.

A side note: “Tempus Fugit” has become a fan favorite over the years, showing up in concerts in instrumental snippets, but with Jon Anderson’s return to the band, it was never performed in full to my knowledge.

Direct descendants – Yes, as an entity within prog, has had many descendants. Yes, in this formation, only influenced itself. It can be argued that without Drama, there would be no 90125. There wouldn’t have been an Asia either.

36. Asia – Asia (1982) Never look a gift segue in the mouth (but if you ever see a segue with a mouth, run). But seriously, folks, following from where Howe and Downes were to where they went is a natural progression, even if the album’s not. There, I said it. This is not really a prog album, but an AOR album made by a supergroup with prog credentials. It has those moments in it, though, enough to warrant its inclusion to the list, and I’ll point them out as we go.

The important thing to note is the band’s pedigree: John Wetton (King Crimson, UK with Alan Holdsworth), Howe and Downes, and Carl Palmer (ELP) on the drums. Each gets his turn in the spotlight, with Wetton’s multi-tracked vocal harmonies, Howe’s licks on “Time Again” sounding more sinister than ever before, Palmer’s thunderous rolls on “Wildest Dreams” and Downes’ thrilling work on “Cutting It Fine.” As a piece of lyrical brilliance, well, uh, it’s not. It’s a rock album and, as such, depends on time-tested subject matter like love found and lost, war, and love lost and found again. Its influence on the overall perception of prog in the ’80s is enormous, though. People bought the album, then tracked back to see what all the players had done before. This led to a mini-resurgence for most of them and they would return in many variations to capitalize on this newfound goodwill.

And for me, Asia will always mean eighth grade with Lisa DiVincenzo in the classic dragon tour t-shirt. Lord have mercy.

Direct descendants – So as an example of progressive might, Asia doesn’t stack up, but its effect can’t be overstated. And just like any good prog band, Asia would have its share of implosions. Greg Lake took over for Wetton for the Asia in Asia concert, then Wetton returned as Howe left. Then Wetton left. Howe went on to form GTR with Steve (Genesis) Hackett while Asia went on with vocalist John Payne. GTR imploded after one album. Payne was with Asia for many years, until the recent reunion. Now there are two Asias, Asia Classic and Asia New. Like some inbred, hillbilly nightmare, Asia’s descendants are themselves.

35. Tool – Aenima (1996) If Yes and Asia made prog safe for the 1980s, Tool did the same for the angsty, cranky ’90s. Their methodology was essentially a spoonful of medicine to help the sugar go down (although that’s a tricky term to use when talking about an album with the song “Hooker With A Penis”). The band’s sound is a combination of the angry alt-rock of the day combined with King Crimson’s precision (second Fripp spotting of the day) and thundering, tribal drumming. Vocalist Maynard James Keenan moves from whispers to vicious barks to an almost mid-Eastern warble and wail. It’s a very specific sound they’ve created, and that’s part of the Tool problem.

Each Tool album has steadfastly stayed on the same page stylistically, from the slow build at the beginning, to the mid-song burst, to the takedown, to the fiery finish; the system they put in place on Aenima has been used not as effect but as a mold on the subsequent releases. For a genre that thrives on changes, in chords, time signatures and in styles, Tool has boxed themselves in a corner. Still, as the opening volley of the new guard of prog, Aenima has truly made its mark.

Direct descendants – Their influence has been less than you would imagine. Sure, they made strides on the metal scene, but the bands that have been most linked to them as beneficiaries of influence (Muse, the Mars Volta, even Rammstein) don’t sound like Tool. The closest descendant is A Perfect Circle, but since that’s also a Maynard James Keenan band, that’s not saying much.

34. Peter Gabriel – (melt) (1980) In 1980, Peter Gabriel was well respected, still lionized as one of Genesis’ founders but just as often viewed as kind of a weirdo. If you told his fans that six years later he would be one of the world’s biggest pop stars, they’d likely have had you committed. On the basis of his third solo album, titled Peter Gabriel (like the preceding two, but known for the “melted face” cover image), perhaps he should have been committed right alongside you. The first song is “Intruder,” a first-person account of a deviant who breaks into houses. The fifth song, “Family Snapshot,” is about an assassin, seen finally through the eyes of himself as a disturbed child. The most recognized song, and least bizarre, is “Biko,” about the South African anti-apartheid protester Stephen Biko who wound up dead in police custody. The song marked the first concrete example of Gabriel’s lifelong affinity for world music.

With the twisted, ropey textures provided by (wait for it…) Robert Fripp, all the twisted intuitions that made his early work interesting were writ large across Gabriel’s third. As a reintroduction to the music scene, it couldn’t have been splashier and was a far cry from his solo debut’s “Solisbury Hill.”

Direct descendants – Not since David Bowie had there been an artist who dared to be both glamorous and not glamorous, to put forth a toe-tapping pop tune, then chase it down with a burning fifth of disturbing imagery. He would mellow those inclinations out considerably in future recordings, but Gabriel’s influence can be seen in any musical entity that steps up and rings the bell, fashion be damned.

33. Jethro Tull – Aqualung (1971) Recipe for disaster: A band with a name that ensures everyone asks, “Which one is Jethro Tull?,” heavy use of the flute, a penchant for writing songs about very non-traditional subject matter, and codpieces. Codpieces, for Heaven’s sake! Jethro Tull is seen mostly as a duo, though the band has never been officially known as such. It is Ian Anderson’s head-scratching style choices, his burly, affected vocals, that flute and his worldview that drive the narrative. It is Martin Barre’s madrigal-cum-arena rave-up that locks the thing down. On their concept album Aqualung, all parts combine to create a classic rock phenomenon.

The concept is split between two sides. Side A primarily focuses on the Biblical “least of these”: “Aqualung,” the lecherous homeless man, “Cross-Eyed Mary,” the town whore that will graciously let you have a tumble in the hay if if will lift your downtrodden spirits, and the starcrossed lovers in a brief moment of romantic bliss in “Wond’ring Aloud.” Side B deals with the goodness of the Biblical teachings versus the failings of the Church, again and again, to actually teach them. A key line from the song “Wind Up” refers to the Almighty God as something greater than any puny ritual: “He’s not the kind you have to wind up on Sunday.”

The album is as unlikely a hit as you could ever imagine, but the tenderness of the ballads and the force of the rockers make it essential prog, even if you don’t like the flute and your codpiece is at the blacksmith’s getting hammered out.

Direct descendants – Their contemporaries in Van Der Graff Generator may not have crossed the band’s path, but their similar theatricality has influenced in part the Flower Kings, the Tangent and frequent Tangent contributor Guy Manning. His track “Margaret Montgomery” sounds like a musical love letter to the Tull ethos.

32. XTC – Apple Venus Vol. 1 (1999) There was a time, prior to XTC’s Skylarking, where trying to lump the band in with progressive rock seemed all kinds of wrong. Punk? Maybe. Post-punk, new wave and pop? More like it. But that Todd Rundgren produced song cycle of birth, life and death proved Andy Partridge had conceptual tics of his own. On Apple Venus Vol. 1, he and Colin Moulding carried on without Dave Gregory but added full orchestration. What were originally little pop nuggets became grand, expansive widescreen epics, all staying in concise packages of six minutes and under.

The deception comes from the simpler, acoustic driven tunes like “I’d Like That” and the nasty “Your Dictionary,” songs that sound little like the campfire concerto “Greenman” or the achingly beautiful “I Can’t Own Her.” That and another Apple Venus track, “Harvest Festival,” may be two of the best songs ever produced under the XTC banner.

Direct descendants – Earlier XTC efforts might have spurred on bands that have nothing in common with this, but arguably Thomas Walsh’s Pugwash, the Milk And Honey Band and Steve Hogarth-era Marillion owe something to this more musically expansive version of the group.

31. Emerson Lake and Powell – Emerson Lake and Powell (1986) How bloody rude of me, right? I’ll slag the album considered the keystone of the ELP discography but give a thumbs up to this, a failed recasting of the band with hard rock drummer Cozy Powell filling Carl Palmer’s seat. The nerve! Well, get down from that high horse before you fall and break your neck. EL Powell succeeds in the same way so many of the ’80s prog did, by letting off the burden of grandeur and allowing a little pop intuition into the mix. While not a perfect release, the recording offers up some solid tunes like the single, “Touch and Go,” “Learning to Fly,” and the arena anthem “Love Blind.”

The old format isn’t totally forsaken as Keith Emerson wrests “Mars, The Bringer Of War” from Holst’s symphony, The Planets, but in an unexpected way the cover works. Film composers like James Horner and John Williams had been liberally paying homage to the piece in their scores for years. This sounds more like a rock extension of that than Emerson making some musical assertion that he is as great as “the greats,” an aftertaste the listener sometimes gets with his Emerson Lake and Palmer exhibitions (hint, hint.)

Direct descendants – It’s clear that EL Powell was following the lead on this and not taking it. It didn’t work out for them. Emerson would re-team with Palmer and add vocalist Robert Berry to the mix to form 3, but that didn’t work out either. As for Cozy Powell, he died in 1998 due to complications from a car accident.

A side note: Why do so many ’80s videos take place in factories?

Next time: Which way did he go? Eno’s thataway.

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  • dolph

    Very well done, Dw.

    It gives me an occasion to air my most controversial prog-fan contention:
    Carl Palmer is wildly overrated — worst sense of tempo among any famous name drummer — and nowhere is that made more evident than in Asia's format, where strict time is a necessity. (And I should know: Popdose's own Rob Smith has pointed out how very bad my own sense of tempo can be…)

    Also, my understanding is that the current Anderson-less version of Yes has brought back DRAMA material to the setlist.

  • http://www.bullz-eye.com DavidMedsker

    Is it wrong that Drama is my favorite Yes album? 'Cause it is, hands down.

    “I Can't Own Her” and “Harvest Festival” absolutely slay me. When I saw the XTC teaser in the headline, I was hoping this was the album you would spotlight.

  • jbacardi

    In defense of Ian Anderson, he didn't break out the codpiece until the tour for Minstrel in the Gallery in 1975, and to the best of my knowledge it was gone by 1976.

    Also, I'd say XTC's 1984 The Big Express was rather proggish, too.

  • http://www.bullz-eye.com DavidMedsker

    You won't get any argument from me on Palmer. Watching him play at that recent Asia in Asia show from a couple years back was just painful. All arms swinging wildly, with no sense of timing.

  • David_E

    Someday, I would like a Pete Frame outline of Yes/Asia/GTR/ELP/ELPowell/3/WettonDownes/ABWH/King Crimson.

    I imagine it would cover a whole wall.

  • smf2271

    One added note about Peter Gabriel's 3rd album: there are no cymbals! That alone makes it one of the most unique-sounding albums of the genre. It should also be noted that Phil Collins provided percussion on most of the album. His drumming (one of the top 10 rock drummers of all time in my book) is often overshadowed by his later descent into lite-FM pop.

    Aqualung is a classic, of course, but I also feel obliged to give a shout to Jethro Tull's “Songs From the Wood” as an unbelievable listen for anyone who doesn't mind the concept of a flute as a lead rock instrument.

  • http://www.popdose.com DwDunphy

    It was a risky choice in some respects. I think some hardcore XTC fans would put a hit out on me for suggesting they were “icky poo” prog. But that album is too complex and far too good to not include it.

    There is nothing at all wrong with loving Drama. There's more Yes on the list to come, but it's still a big shame that the album had trickled back to near footnote status. I think people are far more accepting of it now than then.

  • http://www.popdose.com DwDunphy

    I can't say the exact same thing about Carl Palmer, as the few times I've seen him live, he's been spot-on. However, in the wider scheme of things, Neil Peart always kicked his butt, and now Gavin Harrison's giving HIM a run for his money.

  • http://www.popdose.com DwDunphy

    I think there's one in the book for the Yes Years boxset. It's doubled in substantial size by now, I'm sure.

  • http://www.popdose.com DwDunphy

    You'll get no argument from me on Collins as a drummer. His work with Brand X is even more incredible, but now that he's post-drumkit, I guess we get Phil the Balladeer from here on out.

  • Jimv

    Interesting list.. not sure if Tool fits the classic “prog” definitions, but it's only a quibble.

    Totally agree on Carl Palmer… vastly overrated as a drummer. I always thought Neil Peart could/should have been their drummer, (and they could still be called ELP!…lol)..

    Finally, while Aqualung is indeed a classic and arguably JT's most commercial album, I woudl have to slot THICK AS A BRICK in its place, for it's sheer musicality, drama, and general over-the-top-ness. Same goes for Yes: TALES FROM TOPOGRAPHIC OCEANS would have to be the peak of prog for the band, and would also signal the moment when they jumped the shark.

    It's funny – I saw that tour in Montreal in ('74 I think?) .. and they devoted the entire front half to a note by note reading of the album. Needless to say, the crowd grew a little restless byt the time they got to Side 3! John Martyn opened that show btw, blew the building away with the echoplex.

    Ironically, I now listen to (and thoughouhly enjoy) Sides 1, 2 & 4 (side 3 is still a bitch!).

    cheers..

  • MichaelFortes

    Funny, side 3 has always been my favorite (then 4, 1, and 2). Giving Steve Howe the spotlight just made it that much more enjoyable for me.

  • http://www.popdose.com DwDunphy

    Where Thick As A Brick is concerned, I'm right there with you as far as understanding the steel cojones it took to attempt such a thing. I'm not spoiling to say that it didn't make the list, but here's a clue to #30 – It also is technically a single song, broken into two parts to accommodate a side 1 and 2 of an LP.

  • jbacardi

    Relayer is too good for me to agree with the shark jumping statement.

  • jbacardi

    A Passion Play, I hope- my favorite Tull album.

  • Old_Davy

    Could I be hearing some bells of the tubular kind?

  • Old_Davy

    Drama has it's moments, but it's certainly no “Tormato”.

  • Old_Davy

    Oh yeah, “Easter Theatre” all the way. I am flat-out amazed at that song.

  • Jonny the friendly lawyer

    This is a funny train of thought because, for some reason, when I hear Tool I think of Jethro Tull. I don't know if there's a linear descent or any obvious connection, and they sure don't sound like each other. But the first time someone played me a generous helping of Tool all I could think of was Tull. Prog curse is the only explanantion….

  • http://www.bullz-eye.com DavidMedsker

    I will also readily acknowledge that I am a very casual listener when it comes to Yes. That, and my natural fondness for new wave, would explain my predisposition towards Drama.

  • smf2271

    or could it be some remembering of the future kind?

  • MichaelFortes

    I agree with you on that. Furthermore, Going For The One was equally awesome, though very different. Two great follow-up albums in a row and fortunes continuing to rise does not a shark-jump make.

  • EightE1

    If we live to see the Ommadawn.

  • EightE1

    I'll fly the flag for Drama with you; I think the new blood in the band invigorated Howe, White, and Squire into some muscular, yet nuanced playing. It's not Close to the Edge (my fave Yes album, and a desert island selection without a doubt), but it's quite good.

  • EightE1

    Well, not everyone's a drummer. I still like “Queen for a Day.”

    And you're right about the current incarnation of Yes playing some Drama stuff. A buddy of mine saw them recently and reported that both “Tempus Fugit” and “Machine Messiah” were in the setlist.

  • Old_Davy

    Hmmm. Come to think of it, “Unorthodox Behaviour” would fit nicely in this list.

  • Jimv

    OK – I'll buy that: RELAYER and GOING FOR THE ONE for sure good stuff.. good points all! :)

  • http://mostlymodernmedia.wordpress.com Beau

    Going For The One was fantastic. Of course, I liked '80s Yes, too. And at least one song they recorded in the '90s.

  • Malchus

    THE LADDER is and excellent Yes album and would have been a graceful swan song. Then they had to go and record with a frickin' orchestra and their last album will always be MAGNIFICATION. I doubt they'll ever record new material. Now, with their age and the cash the cash they make as a touring act, there doesn't appear to be motivation to lay down new tracks.

    I think DRAMA reinvigorated Chris Squire and Alan White and they became an even better rhythm section when they started playing more straightforward rock and less classically influenced prog.

  • JMallon

    The main influence of the 3rd Peter Gabriel album is the invention of the gated drum sound that Phil would take back to Genesis and his own solo and production work (viz Frida's “Something's Going On”). It suffuses 80s music and is one of the “Hey, that's from the 80s!” tipoffs.

  • JMallon

    Yes are allegedly going into the studio with new singer Benoit David after their tour ends. They've been playing a couple new songs live. Will it be any good? Er…

  • http://www.popdose.com DwDunphy

    Exactly. Roger Taylor did the same with Duran Duran and The Power Station (on “Some Like It Hot”.).

  • http://www.facebook.com/davidragland David Ragland

    So glad Drama is getting some love here! As a big fan of the two Buggles' records, I've always enjoyed Drama, and it's obviously one of the most underrated Yes albums.

  • out bloody rageous

    I'm stuck on Hergest Ridge

  • http://www.bullz-eye.com DavidMedsker

    Ack! They're playing “Machine Messiah”? I'd see 'em for that alone!

  • Kar

    I still think that the opening to Locamotive Breath is one of the best in Rock.

    Bluesy piano that sounds like it's drifting from a jukejoint on the other side of the tracks and a guitar riff were you can hear the skin being grated off the guitarists fingertips.

  • http://www.facebook.com/teaflax John Thelin

    “This is not really a prog album, but an AOR album made by a supergroup with prog credentials.”

    Spot on. I blame this – and to a lesser extent Kansas and the Rabin period of Yes for making any and all AOR leanings completely acceptable in what is considered a full-on prog band (I’m looking at you, Spock’s Beard), whereas if you look at the bands that were part of of the genre when it was named, *none* of them had that many mainstream aspects.

    Nice to see ELPowell on here, though. I’ve always said that that album, cheesy though it is, is better than any of the Palmer constellation ones.

    And including XTC makes perfect sense, and it’s because of their intricate melodic/harmonic work, something that was a very large aspect of the very first wave of Prog (and rarely if ever in AOR).

  • http://www.facebook.com/teaflax John Thelin

    Relayer is a fantastic album (my favorite of all time). Yes *clearly* jumped the shark with Going for the One. Much as I like that album, it was the first time Yes stepped back from innovation and pushing themselves to the brink, going right back into their comfort zone. There’s something to be said for knowing what you can do and doing it well, but coming from a band who had been crossing boundaries for most of their career, it’s a pretty clear withdrawal from the edge, as it were.

  • gummi

    1.Go on wikipedia
    2.Search for progressive rock
    3.Make a new list

    That is all

  • http://www.popdose.com DwDunphy

    A better idea…

    1. Look up the word “subjective”
    2. Get yourself a blog
    3. Make a list

    If you have qualms about my choices, that’s your right. Suggesting I change them because you don’t like them, that’s not right at all.