My prog is
a) devoid of music hall silliness
b) devoid of any preachiness in lyrics (that's right, Barclay James Harvest wasn't really my thing).
c) and has not only to reside on DIATONIC chords and melodies. Yes, they had almost no blue notes ever in their compositions (maybe Relayer had one, incorporated by mr Moraz, stubbornly fighting for it not to be edited out during the mixing sessions
) but resorted to "well, if the tune requires a C major chord, so be it ..". Wakeman played almost only "white keys" so to speak. Of course, not only in C but largely diatonic. Genesis, Gentle Giant and ELP, and especially King Crimson could scare us with their occasional flattened fifths, or colored and augmented chords. Even Tull did that. I would love to hear some sense of drama, tension and release, dynamic build ups, and frankly, some minor chords too (!?). And even . lo and behold . some key and chord changes beyond the triads. Yes, do you hear me, Yes (the group I mean!)? I remember when hearing Yes "Circus of Heaven" I thought, "hmmm...are they going to play childrens tunes from now on?". I mean that it should not only be challenging to play, but a bit challenging for the listener too. By and large I liked Yes a lot, but sometimes...like what Wakeman himself thought of "tales..." in which made him leave the group: "listening to that one is like watching paint dry".
The english bands that had some influence from their own past centuries, like medieval and english folk music was
slightly more to my liking than anyone else.
But that's just taste. One can't say green is better than yellow. One great melody I can remember which relied on medieval and classic VOICE LEADING was a fairly unknown Genesis tune called "Mad Man Moon" from their 4 piece album "Trick Of The Tail". To most others, considered a filler material and forgotten today. Another one, is "Think Of Me With Kidness" from Gentle Giants "Octopus". Almost like a national anthem, medieval rock.
That's why I only like
Porcupine Tree's "In Absentia" from them. Their tune
"Trains" is full of english medieval folk and minor keys, and hamony vocals. Moody but great. They dodged all that later on, to my disappointment. It was close to reviving the true prog in that they took it all in influences from - then new - electronica, dub, and house music tied together with Beach Boys harmonies, Metallica riffing, and - of course - Pink Floyd.
There have been a few clunkers too in the prog genre. That goes with it. Since it's experimental, it just doesn't always falls into place. I remember one review when U.K. had split up in two divisions, BRUFORD (with Holdsworth), and U.K Danger Money (Jobson, Wetton). They reviewed both with a headline "WHEN PROG ROCK IS AT ITS BEST AND WORST". Guess which one...
) Behaviour, Security of Illusion (the return of the original band) and 10,000 Days (the return of Michael Sadler) are excellent as well.
Not even reading the OP's first opening thread where they are mentioned on the get go. But for ... sake.
