It could be said that Mabel Greer's Toyshop became Yes. In fact, that's essentially what happened.

I don't think that these guys will ever have a huge following. Their music is too strange for the masses.

After several years on hiatus, Birmingham rock band Magnum returned with their comeback album Breath of Life in 2002.

This is quite an interesting set. I think arguing that it doesn't fit under progressive rock would be quite valid.

This single bears the same title and cover as the album from which it comes. This was released as sort of the preview for the album.

The main claim to fame of this 1971 disc is the fact that it was Patrick Moraz' first band (at least in terms of first band with a release). The thing is, the music holds up really well as early progressive rock by itself.

This is instrumental music in terms of a very general description. It also lands under progressive music, but there are a lot of varying flavors and concepts presented here.

While Phil Manzanera might be best known in some circles for his time in Roxy Music, he's had quite an interesting solo career over the years.

Marillion are now a band that does not need to pander to any record label or current trend.  In fact, they create a sound that I can’t compare to anyone else.

Perhaps this doesn't precisely fall under progressive rock. It's essentially electric guitar led arrangements of classical music pieces.

Not everything here is progressive rock. There are clearly some songs here that fit into that category.

I previously reviewed another set from this act. Like that one, this is not necessarily the tightest fit under progressive rock.

Weather McNabb has produced a particularly powerful release with this EP.

This album from Laura Meade is a unique and intriguing pleasure. It's hard to really pin down to a musical style, beyond the vague "progressive rock" heading.

With jazz, world music and more built into it, this instrumental set is classy. It lands on the mellower end of the spectrum, but that's not a bad thing.

Melting Mergers is an album that fuses EDM, electronica, funk and world samples together by keyboardist/composer David Lee Bassett, drummer/percussionist Vinnie Bargas, and dancer Emily Paris.

This new disc is pretty interesting stuff. It is not a perfect fit under the "progressive rock" banner, but I'm happy enough putting it there.

I reviewed a previous set from this act and liked it a lot. It didn't prepare me for this, though. This album is a masterpiece that really lands under folk prog more than it does pure folk music.

This is an intriguing CD. It's one track that is almost 34 minutes long. This is a reissue of a digital only release.

This is quite an intriguing set. It's fully instrumental. I've put it under progressive rock, but it probably would have fit just as well under the non-prog category.

In 2017 The Moody Blues album Days of Future Passed turned 50 years old. It's hard in retrospect to understand just how much of a game-changer that album was, merging symphonic music and rock into a concept album.

I recently saw a list of most disappointing albums, and this was on it. I decided to do this retro review as sort of my rebuttal to that.

This album from the Moody Blues probably falls in the middle of the road of their older stuff. There are a few exceptional tracks.

The third album from The Moody Blues, this came out in 1968. As such, it's more proto-prog than actual prog, since that wasn't really a thing yet.

This is quite an intriguing set. The nearest comparison is to Nox Arcana, and that's actually pretty close.

Many know Michael Moorcock as a science-fiction writer. He's also a musician, though,

The first solo album from Patrick Moraz, this is getting a cool remastered edition. This features two bonus tracks and restored art.

The first solo album from Patrick Moraz, The Story of i (also reviewed in this issue), was released in 1976 as part of a group effort from members of Yes to release solo albums.  

This brand new release from Neal Morse finds him moving from his usual Christian lyrical territory into slice of life stories that seem poignant and personal. Musically he creates sounds that are among the most mainstream and pop-rock based of his career.

I suppose it makes sense that if Steve Morse can't really be pegged to any one style, it's because his influences can't be pegged either. On Major Impacts 2 Morse continues to pay respect to the musicians who caught his ear.

This new disc from Tim Morse should appeal to fans of melodic progressive rock. While most of it leans toward older textures, there is a modern edge to it.

What do you get when you combine classical music with jazz and some rock?