2025 Prog Journal

Transatlantic - SMPTe. 2000 InsideOut (CD). Transatlantic were one of those prog supergroups that were quite popular in the late 90s and throughout the 2000 decade. This was their debut and they still get together on occasion and release new material.  I never bothered with any of these acts real time, so the thrift shop is coming in real handy to see what I missed. This collective brings key players from Dream Theater, Marillion, Spock's Beard, and The Flower Kings / Kaipa. So the band moniker is accurate. Not surprisingly the album opens up with a six part, 31 minute opus. They were absolutely going for prog street cred here. Opening impressions is that one hears retro prog, especially classic Yes, mixed in with the modern variation of said sound. Spock's Beard and The Flower Kings do seem to be the leading lights if looking for quick comparisons. Instrumentally the music is fantastic. Some of the vocals sections drag, especially when in chorus mode. The latter being the Neil Morse annoyance contribution. It would be easy to be cynical about such a release, especially coming from a hardcore underground perspective. But that's not fair at all, as these guys put together a very fine, professional release. One that clearly was carefully composed, rehearsed, and recorded. That doesn't mean this album is for me, however. There's something very contrived about it, and lacks that emotional and creative spark we get from the amateurs. But for those who are into "names", you really can't go wrong here. (10/23)

Family - Anyway. 1971 United Artists (LP). The story goes that Family weren't satisfied with their last studio album - failing to capture the band at their finest (a familiar argument). So for Anyway they split the album as half live and half studio even though it's all new material. The live side isn't recorded very well so that doesn't help. The other issue here is the tracks sort of fly by without notice. There's really not much that stands out - whether it's a memorable tune or a mind bending instrumental passage. I'm sticking Anyway in the prog section as I'm not really sure where else to put them. Maybe classic rock would have been better, though that's not their reputation. On the plus side, this album did reignite my interest in the band. I do have a couple of their albums already on CD, and now I picked up one of their recognized classics on LP. A feature may be coming soon (nope) (6/16).

*Steve Hackett - Clocks. 1979 Charisma (EP). The title track, coming from Spectral Mornings, is a super version featuring Novatron. You'll recognize many of the Genesis themes on 'Acoustic Set' utilizing only acoustic guitar and flute, and which seemingly has as much applause as music. 'Tigermoth' also comes from Spectral Mornings and is another fantastic rendition with heavy Moog, flute, and electric guitar. The last hurrah for Genesis and prog music. Have to keep this. Oh great - EP's as large as LPs and looking to downsize. (2/2)

Discus - ...Tot Licht! 2003 Gohan (CD). Collection revisit. Have you ever wondered what it would be like if you combined prog metal, avant prog, and 80s Japanese symphonic prog with female vocals? Yea, I hadn't really given that one much thought either. But if I did, Discus' second album would be the answer. Discus demonstrates a complete lack of focus and decides to give you as much progressive rock ideas as they can come up with on the fly. Genre hopping within the prog world was somewhat popular in the 2000s, and Indonesia's Discus were one of the leading lights, obscure as they may have been (though they did play live in North Carolina). Interesting that they also appear to be very religious, both Christian and Muslim together. In any case, a fascinating listen, but I don't feel albums like this. A familiar theme: Appreciation doesn't always translate to excitement. This version has a six minute bonus track. (1/6)

* - keeping for the collection

Genesis ~ England

Trespass (1970)

As I have mentioned a couple of times, when I arrived to college in 1983, I had no idea Genesis were a prog band. In the Dallas area, the FM radio stations purged all evidence that the group existed prior to 1977. My hall monitor was also a record collector and while looking through my progressive oriented collection (such as it was), he asked where my Genesis albums were. I told him I thought they were a pop group. Ohhh... nooo. So he let me borrow Wind and Wuthering figuring it was more contemporary. I really enjoyed it, and realized I had missed out. Then he let me borrow Trespass.

This was something entirely different to the progressive rock I had enjoyed up this point, mostly from the Yes and ELP school. This was a type of murky and mysterious music, distant yet engaging. While Side 1 is excellent, it was Side 2 that really drew me in. And some 40 years later, on yet another revisit, I can say with conviction this is why I consider it a top division record. 'Stagnation' is the culmination of the three tracks prior. 'Dusk' picks up the pace and highlights Gabriel's flute. Incidentally this would be the album he features the instrument the most. And then the real jaw dropper, especially for my ears back then, was 'The Knife'. I wasn't prepared at all for the aggressive stance of the composition. It's interesting to note that Anthony Phillips made a career out of pastoral acoustic guitar based music, similar to what he brought to Trespass. But on 'The Knife' it appears that Phillips purged all of his pent-up anger in one fell swoop. It's darn near heavy metal in places! It still sends a chill down my spine all these years later. You can really feel this album through and through.

I'm not one to take a contrarian position, but I enjoy Trespass better than the next two, and it remains my second favorite Genesis album after the almighty Selling England by the Pound.

Like with most of my original Genesis LP collection, I started with a single sleeve commodity, and over time, secured the UK original.

Ownership: 

1970 Charisma UK (LP). Textured gatefold with lyric inner. Pink scroll label.

1999 Charisma Japan (CD). Papersleeve gatefold. 

1//84 (first acquired); 1995; 2009; 1/12/24 (review)

Abacab (1981)

Like just about every other dyed-in-the-wool prog fan my tolerance for pop era Genesis is pretty low. As mentioned here before, I didn't even know Genesis were a prog band until I got to college a couple of years later. I always liked the title track with its random synthesizer leads and motorik styled drums. Even though the song is the most proggy thing here, the fact remains it was the big hit from the album and it makes you wonder why they didn't reconsider their decision. The rest of the album is not so bad if taking into account the early 80s radio mindset. Some of it reminds me of Toto of all bands, especially the horn driven numbers. Taking the emotion out of it, I'm tempted to keep it. But the downsizing must continue, and as I said about a recent ZZ Top tape, I have no nostalgia here. And if I did, it would be mostly on the negative side. Glad to have reconciled with it though.

Source: 1981 Atlantic (LP)

Wind & Wuthering (1976)

If you've ever spent any time on a progressive rock chat board, then you'll know that Genesis gets a lot of ink. I mean a lot. As if there never were any other progressive rock bands in the world except Genesis, Yes, and a handful of others. I've spent a lifetime collecting and reporting a different world than that. But Genesis remains one of my favorites as well. If you were to come along today and learn about progressive rock for the first time, Genesis would get mentioned early and one would be directed properly to their early albums. Strangely, for those of my generation, Genesis were an AOR / pop band. As if they didn't exist before 1977. And I started listening to the radio intently in... 1977! Such was the state of commercial radio back then. It wasn't until I got to college (1983) where I met more like-minded guys, that I learned Genesis were a prog band. Our resident assistant let me borrow Trespass through Foxtrot, and my education of Genesis began.

I bring all of this up in a Wind & Wuthering review, because this was their last stand for prog rock. Much debate (as noted in sentence #1) has occurred around whether or not this album was the beginning of the end or the end of the beginning (appropriate phrasing for a number of reasons...). Based on my own personal experience, I have hard data that it was the end of the beginning. I never heard this album until I started buying for myself all the "prog" Genesis albums. Even though there is the one pop number 'Your Own Special Way', its placement here is about as relevant as 'I Know What I Like (In Your Wardrobe)'. And I never heard it on the radio either. But I sure as shite heard 'Follow You Follow Me' nine million times. And that was before 1979.

Was Steve Hackett the secret ingredient that held it all together? The superficial data says yes. The reality is probably no. He just would have been the guitarist in the pop group known as Genesis. Have you heard Cured? You'll get a funny feeling. Point made. As for W&W, I find most of the material here very strong - up there with some of their best works. It's not as consistent, and I don't consider it a first division record, but close. The Unquiet / Quiet sequence is stunning though.

Ownership: 

1976 ATCO (LP). With hype sticker.

1994 ATCO (CD)

1986 (acquired); 8/13/06; 9/30/19; 3/28/23 (review)

Also own and need to review: Nursery Cryme; Foxtrot; Selling England By The Pound; Live; Trick of the Tail

3/28/23 (new entry)