I’ve been going through Prog magazine’s list of the 100 greatest prog albums. Fascinating read. I’m finding an entire area of the genre that’s regarded as great, and I’ve never heard them and barely heard of them.
Filed under “For further research.”
I have few qualms with the list. Whenever I look at an all-time list like that, I check to see if certain markers are in certain places. I may or may not agree, but I’ll have an idea what would traditionally be in each place. It’s an opportunity to play “If they like A and B as much as I do and they have C on their list, I should check out C.”
The No. 1 album on the list is “Close to the Edge.” I’m not sure what I’d consider the greatest prog album, but if it’s a Yes album (and it could be), I put “Fragile” (No. 25 on The Big List) ahead of “Close to the Edge” (No. 147). So, tastes.
As I sat and thought, I wondered if “Killer” might threaten Prog’s top 100. It’s more a pop-rock album, certainly. “Yeah Yeah Yeah” and “Be My Lover” could really have been solid hit singles, “Under My Wheels” was, and “Desperado” is probably the most sincere Doors tribute ever. (Alice and Jim Morrison hung out.)
But the album’s long songs — “Halo of Flies,” “Dead Babies” and “Killer” – are all pieces with several movements, surreal narratives and thoroughly well-considered arrangements. What’s more prog than that?
“Killer” wasn’t on Prog’s list.
That’s OK. Neither was Starz. But if “Violation” isn’t a great prog album, I don’t want to be right.