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Rolling Stone's 50 Greatest Progressive Rock Albums

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Music : Rock : Lossless
50 Greatest Prog
Rock Albums of All Time

Quote:For close to a half century, prog has been the breeding ground for rock's
most out-there, outsized and outlandish ideas: Thick-as-a-brick concept albums, an early embrace of synthesizers, overly
complicated time signatures, Tolkienesque fantasies, travails from future days and scenes from a memory. In celebration
of Rush's first Rolling Stone cover story, here's the best of the deliciously decadent genre that the punks failed to
kill. 

http://www.rollingstone.com/music/lists/50-greatest-prog-rock-albums-of-all-time-20150617

50	Happy the Man, 'Happy the Man' (1977)
Happy the Man, 'Happy the Man'
Formed in a James Madison
University dorm room, Washington, D.C.-based Happy the Man recorded three venerated, mostly instrumental prog albums in
the late 1970s, striking a seductive middle ground between sax-driven jazz-fusion lunacy (circa Zappa's One Size Fits
All) and synth-heavy meditative twittering. After a showcase, Clive Davis reportedly told the band, "Wow. I
don’t really understand this music. It’s way above my head”; yet he still signed them to Arista.
Their debut is the band at its most dynamic, highlighted by intricate instrumental interplay as far-out as the song
titles ("Stumpy Meets the Firecracker in Stencil Forest," "Knee Bitten Nymphs in Limbo"). R.R.

49	Ruins, 'Hyderomastgroningem' (1995)
Ruins, 'Hyderomastgroningem'
Beaming down from the far
reaches of the prog-rock galaxy, this Japanese drums and bass duo slam together mathematically improbable meters and
dissonant blasts of rhythm with nonsense wails or demonic growls. The band's fifth album is especially fascinating, as
Ruins inject snippets of vocal melody, droning doom, punk tempos, and meticulous Crimson-esque prog into their rapidly
morphing songs. The most obvious influence on Ruins' ringleader Yoshida Tatsuya is Magma's iconoclastic Christian Vander
— like Vander, Yoshida even created his own language for the band — but there are also traces of
experimental freaker Frank Zappa and avant-jazz terrorizer John Zorn (who released the album on his Tzadik label). Some
have tagged Hyderomastgroningem unlistenable and undoubtedly it could drive most fans of King Crimson or Yes batty. But
maybe that just makes Ruins more prog than prog. J.W.

48	FM, 'Black Noise' (1977)
FM, 'Black
Noise'
Superficially, Toronto-based FM had a lot working against them: Aside from Rush, Canada was never a prog
hotbed, and the band released its debut album in 1977, as many of the genre's originators were fading. Still, Black
Noise was one of late-era prog’s most original albums – a hypnotic blend of symphonic synthesizer effects
and glossy New Wave melodies, plus an exotic whirl of electric mandolin and violin from Nash the Slash, a.k.a. Jeff
Plewman, who performed onstage with his face entirely obscured by surgical bandages. Opener "Phasors on Stun"
became a minor AM radio hit, driven by a yearning hook from frontman-bassist-keyboardist Cameron Hawkins, and the band
has released several more albums over the years, but FM never managed to reach their debut’s deep-cosmos magic.
"There is a timeless quality about that record," Hawkins told The Music Express in 2014. R.R.

47	Crack the Sky, 'Crack the Sky' (1975)
Crack the Sky, 'Crack the Sky'
American rockers aren't known
for their prog ambitions, and the bands that did push the boundaries usually slipped through the commercial cracks. Case
in point: West Virginia wise-asses Crack the Sky, who created an outright classic with their kaleidoscopic debut. Led by
singer-mastermind John Palumbo, the band expertly navigated chunky hard-rock riffs ("Hold On"), barbed art pop
("Surf City"), fusion funk (the wicked breakdown in "She's a Dancer") and long-form balladry
("Sea Epic"). Yet they never achieved more than a faithful regional following, despite a glowing Rolling Stone
review: "Like the first albums of Steely Dan, 10cc, and the Tubes, Crack the Sky's debut introduces a group whose
vision of mid-'70s ennui is original, humorous and polished. . ." Bolstered by the fans they do have, Crack the Sky
have kept at it: Their 15th studio album, Ostrich, was released in 2012. R.R.

46	Carmen, 'Fandangos in
Space' (1973)
Carmen, 'Fandangos in Space' (1973)
Flamenco prog: a pretty ridiculous idea, even for 1973.
But London-based Carmen made that synthesis feel revolutionary on their debut LP, chasing the vision of Los Angeles
singer-guitarist David Allen (who was assisted by his sister and keyboardist Angela Allen). In a glammy yelp, the
frontman sang tales of bullfights and gypsies, as the music blended Mellotron, rock rhythms, and zapateado footwork into
a cosmic headfuck (produced by David Bowie collaborator Tony Visconti). But it couldn't last. After releasing two more
albums (and opening for Santana and Jethro Tull), Carmen folded in 1975. Even as Fandangos in Space has faded into
obscurity, it has reached a new generation of musicians. "It's amazing," Opeth frontman Mikael Akerfeldt told
Metal Hammer in 2012. "It's a crazy flamenco prog-rock folk record! They had tap dancing on the record and
castanets too! Everyone I've played it to has been blown away by it." R.R.

45	Triumvirat, 'Illusions
on a Double Dimple' (1974)
Triumvirat, 'Illusions on a Double Dimple'
This German trio is often branded as
a clone of Emerson, Lake and Palmer, which is an unfair, if understandable, dismissal. Propelled by Jürgen Fritz's
keyboard arsenal of grand piano, Hammond organ and Moog synth, the band were clearly versed in the science of Brain
Salad Surgery. But what they lacked in originality they made up for with mind-boggling chops. Triumvirat's second LP,
1974's Illusions on a Double Dimple, is a prog-rock masterwork, incorporating operatic choirs and bursts of pop levity
into two seamless, side-spanning epics. They softened their approach later in the decade in a quest for commercial
stability — and failed miserably. But thanks to Illusions, Triumvirat's legacy among the prog firmament was
secure. R.R.

44	Strawbs, 'Hero and Heroine' (1974)
Strawbs, 'Hero and Heroine'
Led by the
ambitious prose and untamed warble of mastermind Dave Cousins, Strawbs started as a bluegrass outfit called the
Strawberry Hill Boys, briefly worked with future Fairport Convention singer Sandy Denny, and eventually evolved into
full-fledged prog by the mid-1970s. Hero and Heroine is the band's heaviest, most symphonic album, anchored by John
Hawken's ghostly Mellotron and guitarist Dave Lambert's stinging distortion. Strawbs hadn't abandoned their acoustic
side — "Midnight Sun" is one of Cousins' most assured ballads. But the newfound muscle and energy
broadened their appeal: Multi-part opener "Autumn" is the band's most majestic moment, a melancholy epic for
the prog time capsule. Bonus fact: Production team Sid Roams sampled the title track for rapper Papoose's 2008 track
"Bang Bang." R.R.

43	Electric Light Orchestra, 'Eldorado' (1974)
Electric Light
Orchestra, 'Eldorado'
Sub-titled A Symphony by the Electric Light Orchestra, ELO's fourth studio LP was its first
to feature an actual orchestra, as opposed to just overdubbed string parts. A concept album about the lonely, romantic
daydreams of a man desperate to escape the drudgery of his daily life, Eldorado weaves its songs into a dense,
atmospheric tapestry that is essentially pop-prog. Despite some typically brilliant Jeff Lynne hooks –
"Can't Get It Out of My Head," the band's first Top 10 hit, was as catchy as its title suggested – the
album was meant to be enjoyed as a complete work. Called "something of a triumph" by Rolling Stone at the
time, Eldorado was later used by experimental filmmaker Kenneth Anger as the soundtrack to the 1978 re-release of his
surreal 1954 film Inauguration of the Pleasure Dome, which certainly speaks to the album's transportive, cinematic
qualities. D.E.

42	Meshuggah, 'Destroy Erase Improve' (1995)
Meshuggah, 'Destroy Erase Improve'
(1995)
It's one of those grandiose album titles, like Ornette Coleman's The Shape of Jazz to Come, which actually
lived up to its billing. The Swedish juggernaut's definitive second album did destroy, erase and improve the prog-metal
archetype when it dropped in 1995. Some dubbed the record's mix of brain-frying polyrhythms, stuttering riffs and
Frippian solos "math metal"; the kids called it "djent." Onomatopoeia for their downtuned and
hyper-distorted guitar chug, the term was originally coined by the band's lead shredder Fredrik Thordendal, and has come
to represent a generation of young progressive headbangers like Periphery, Animals as Leaders and TesseracT. But try as
they might, none will ever write a song as abrasive yet brainy yet catchy as "Future Breed Machine" —
by the band's own admission, they are the three most repeated words at any Meshuggah concert. B.G.

41	Amon
Düül II, 'Yeti' (1970)
Amon Düül II, 'Yeti'
Described by Lester Bangs in Rolling Stone as
"Germany's great psyche-overload band," Amon Düül II delivered some serious mind-fry on their sprawling
second album. Heavier and hairier than most of their Krautrock contemporaries, the band melded elements of the Velvet
Underground, Jimi Hendrix, Frank Zappa, Jefferson Airplane, Pink Floyd and Quicksilver Messenger Service with African,
Asian and Indian influences to create something deeply personal and even more deeply weird. Half of Yeti was completely
improvised in the studio, but it's hard to identify which half; pre-written tracks like the opening suite "Soap
Shop Rock" and the searing rocker "Archangel Thunderbird" seem to follow their own primal internal
compass, while the improvised nine-minute closer "Sandoz in the Rain" (allegedly recorded while the entire
band was on acid) is ravishing in its stark, crystalline beauty. Yeti isn't just one of Krautrock's greatest albums;
it's one of the finest records of the entire original psychedelic era. D.E.

40	The Soft Machine, 'Third'
(1970)
The Soft Machine, 'Third'
To quote Robert Wyatt's lyrics from Third's "Moon in June,"
Soft Machine specialized in "background noise for people scheming, seducing, revolting and teaching."
Cosmically heady, unconventional to a fault, and often more audibly jarring than a piano dropped on top of a piano, the
English instrumental savants' unvarnished tape collages make Pink Floyd songs sound like bubblegum. With four
compositions nearly 20 minutes each, Third opens with the free-jazz menace of "Facelift," which is even more
out-bloody-rageous than the cool-ambient freakout of "Out-Bloody-Rageous." Keyboardist Mike Ratledge spent the
entire album going typically nuts. While Wyatt spoke in tongues, he and bassist Hugh Hopper made the aforementioned
"June" sound like six Cream songs played simultaneously. "I work in a trance, don't really know what I'm
doing 'til it's done," Wyatt has said. R.F.

39	Porcupine Tree, 'Fear of a Blank Planet' (2007)
Porcupine Tree, 'Fear of a Blank Planet'
For their ninth studio recording, British art-rockers Porcupine Tree
created a concept album based on the Bret Easton Ellis novel Lunar Park, with lyrics that addressed how the adolescent
protagonist battled his bipolar and attention-deficit disorders with a regimen of
prescription drugs and Internet overstimulation. The music used sprawling vocal melodies,
atmospheric guitars and drums that tumbled through chaotic passages to echo the main character's manic-depressive
states. Porcupine color their songs with chiming prog, serrated Nineties alt-rock and blaring hard-rock power chords,
enlisting the help of Robert Fripp, Rush guitarist Alex Lifeson and ex-Japan keyboardist Richard Barbieri. J.W.

38	Gong, 'You' (1974)
Gong, 'You'
Australian ex-pat Daevid Allen is one of prog's greatest weirdos:
He co-founded genre pioneers Soft Machine, then triangulated psychedelic English whimsy, German kosmische space jams and
Gallic libertine fusion in French-British outfit Gong. His magnum opus, serialized across three LPs known as the Radio
Gnome Trilogy, was an appropriately gnomic narrative involving pothead pixies, octave doctors, flying teapots and a
journeyman known as Zero the Hero. The music was even wilder, and You, the trilogy's finale, was its pinnacle. While
Allen swapped pronouncements with muse Gilli Smyth — Nico reimagined as a soft-porn Glinda the Good Witch
— alongside Didier Malherbe's free jazz windstorms and Steve Hillage's 'shrooming John McLaughlin freakouts, the
group created a cartoon hash-den passion play as hilarious as it was semi-profound. W.H. 

37	Marillion,
'Clutching at Straws' (1987)
Marillion, 'Clutching at Straws'
British prog-rock darlings of the Eighties,
Marillion took the spirit of Peter Gabriel-fronted Genesis and reworked it for an American rock audience that was
chaps-deep in hair metal. Following up 1985 commercial breakthrough Misplaced Childhood — which stayed at Number
One on the U.K. album charts and went to Number 47 in the U.S. — Marillion's fourth album balanced melody and
melodrama. Surrounded by atmospheric production and guitarist Steve Rothery's spacious, relatively restrained guitar
(which split the difference between Genesis' Steve Hackett and U2's the Edge), Fish unspooled a poignant, almost
spoken-word tale about a loser musician and deadbeat dad who drinks away his pain in pubs, hotel rooms and venues.
"The concept was maybe too close to home," he wrote in the liner notes for the album's 1999 re-release. Fish
soon left the band to recover and pursue a solo career. J.W.

36	Harmonium, 'Si On Avait Besoin D'Une
Cinquieme' (1975)
Harmonium, 'Si On Avait Besoin D'Une Cinquieme'
For their second record, French-Canadian
folk guitar trio Harmonium expanded into a symphonic quintet, adding woodwinds and keyboards to flesh out a concept
album based on the four seasons (and a fantastical fifth). The first side is all pastoral warmth, with guitarist Serge
Fiori's sweet-nothings croon, and jazzy asides. Elegant stuff, but only a warm-up for the side-two centerpiece
"Histoires sans paroles," which is 17 minutes of cyclical flute themes, Mellotron haze, and billowing vocal
harmonies (featuring guest Judi Richards). In 2007, journalist Bob Mersereau ranked Si On Avait Number 56 in his book
The Top 100 Canadian Albums. But he may have undersold the album — it's the pinnacle of the entire folk-prog
movement. R.R.

35	Banco Del Mutuo Soccorso, 'Io Sono Nato Libero' (1973)
Banco Del Mutuo
Soccorso, 'Io Sono Nato Libero'
Prog flourished in Britain, but some of the genre's most innovative bands (PFM, Le
Orme, Goblin) came from Italy. Banco were the most unique of the bunch, defined by the operatic bellow of Francesco Di
Giacomo and the expressive dual keyboards of brothers Vittorio and Gianni Nocenzi. While 1972's Darwin! showcased the
sextet's Romantic edge, the following year's Io Sono Nato Libero (or I Was Born Free) perfected the approach with
cleaner production and refined arrangements. From the serene ballad "Non Mi Rompete" to the 15-minute
symphonic-rock pummeling of "Canto Nomade per un Prigioniero Politico," the album represents Rock Progressivo
Italiano at its purest. R.R.

And many more!!!

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This has been almost
2 weeks of hard work to find, properly tag, and compile this giant FLAC release
for everyone. These are the top 50
progressive rock albums of all time as reported by Rolling Stone
online.

http://www.rollingstone.com/music/lists/50-greatest-prog-rock-albums-of-all-time-20150617

There are a lot
of great, epic albums, most of them are on the 1001 albums to listen to before you
die! 

Please seed as
I will be seeding this for weeks to get a decent amount of seeders. Will easily get 
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seeders club! Well, enough talk more download.

-Doubzstep
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