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Last 50 reviews
Studio Album, 1970
3.56 | 23 ratings

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Just Another Diamond Day
Vashti Bunyan Prog Folk

Review by DangHeck

Much like the excellent Parallelograms by true-blue Cali contemporary Linda Perhacs, interestingly enough released the same year (1970), English singer-songwriter Vashti Bunyan's at-one-time sole and therefore debut release, Just Another Diamond Day, sold so poorly that she quit the music business altogether. She eventually returned to record two other albums, in 2005 and 2014, following a growing cult of devoted fans and an eventual reissue (in 2000) having further pushed the album out of obscurity and into even critical acclaim. This will be a review of a post-2000 remaster including four bonus tracks.

The opener "Diamond Day" is just striking. Beautiful. Vashti's voice is soft yet clear. The inclusion of flute and strings is a really nice touch. The stylistic ties to Parallelograms are immediately apparent and welcomed. Just sweet, sweet beauty. "Glow Worms" is very heart-felt. Short and sweet. Not particularly anything of great interest. "Lily Pond" is next, with mandolin and what sounds like marimba? This is very clearly a classic homage to "Twinkle Twinkle, Little Star" in melody. Coming up onto "Timothy Grub", it's hard for me to say, when comparing to Perhacs, whether or not this is overtly English in tone, but I would like to say it is. This is a very soft number. Toward the end, there's a counter-melody played on, I assume, recorder. It's beautiful, sure, but, unlike Parallelograms, I feel this offers far less in terms of purporting to be progressive music.

Next is "Where I Like to Stand". A very classic, sort of medieval feel. A tad better/more alluring than the prior three. "Swallow Song" has far more string arrangement than before, too. But I don't feel much for it. "Window Over the Bay" is a classic ballad, at first sung a capella. The melody was pretty nice, but I wasn't totally moved by it (much like the majority of the music here thus far). Then we have "Rose Hip November", which interestingly enough has a bit of very soft organ and more mallet percussion (again, of some sort). It's ominous and seemingly melancholic, yet it offers so much more in all of the included instrumentation. Juxtaposed in its positive, warm tone is "Come Wind Come Rain". The return of mandolin is joined, too, by a really nice banjo accompaniment.

"Hebridean Sun" was another soft balladic number. Up next is the equally soft, yet bigger orchestration of "Rainbow River". Very Pretty. Another that is just a hair above the rest. Up next is the quieted "Trawlerman's Song". Pretty. Then it's "Jog Along Bess", which features a rare piano. Cute song. As for the original release, finally we have "Iris's Song For Us". Save for a melody-matching fiddle, it would have been entirely a capella as well.

The first aforementioned bonus track is "Love Song" and I feel it's immediately different from everything that came before. I assume then this was a different recording session entirely. The instrumentation reflects the same focus; it's just that her voice sounds like it had reverb added to it. Which is nice. Up next is the alternatively very Lo-fi recording of "I'd Like To Walk Around in Your Mind". This has a really really nice melody! It also has a ton more plays on Spotify than literally everything else and I can see why! Certainly the lower recording quality (which really just sounds like that was due to it being transferred digitally from vinyl) does nothing in decreasing this song's value. Even more Lo-fi is "Winter Is Blue". Another with a pretty nice melody. Finally finally, we have "Iris's Song - Version Two". Very pretty, but clearly nearer to demo material, now unsurprisingly.

It must be stated that I can and with some frequency do enjoy folk music, but, as is reflected in the lower rating of this album, I feel, even in its very clear and obvious (universal) beauty, this album is seldom near Progressive Folk. That's ok. But it needs to be said.

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Studio Album, 2021
3.44 | 36 ratings

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Ascension Codes
Cynic Tech/Extreme Prog Metal

Review by SteveG

This is quite a strange album from Cynic. Bereft of former members Sean Reinert and Sean Malone, on drums and bass respectively, you know you are going to be in for a lesser listening experience. Malone's fretless bass and especially Reinert's drumming were as much a cornerstone to the band's sound as Paul Masvidal's guitar playing and songwriting. I'll even go so far as to say that the late Reinert was one of the best prog drummers who ever lived and was easily in the class of greats like Palmer and Peart. His ability to be highly technical while still being able to swing the groove can't be overlooked.

So what we have here is basically a Masvidal solo album with hired sidemen. Dave Mackay does the keys and rubbery sounding synth bass, while Matt Lynch does the drumming in a more conventional rock style than his predecessor, with all of the rock drumming clich�s like rim shots and jazzy high hat rhythms.

But the main problem is with the music itself. More in the mainstream of prog, with heavy use of synths, the songs sound very uninspired in their now spacy atmospheric style. The second major problem is a group of songs bereft of catchy riffs and hooks that was so prominent on past albums. In fact, an infectious riff doesn't surface until the intro of the album's 13th track titled "Aurora". By then, it's a case of too little too late. The third problem is that Masdival's weak vocals are all but buried in the sound mix until the the album's last few vocal tracks. Masdival might not be a powerhouse vocalist, but his voice is pleasant and fits with his song's subject matter of attaining higher consciousness and a peaceful repose.

So, I can't recommend this album for Cynic fans, but perhaps those who like atmospheric space rock might enjoy it, so 2.5 stars rounded up to 3 sounds about right.

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Studio Album, 1983
2.25 | 176 ratings

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Kilroy Was Here
Styx Prog Related

Review by Warthur
Prog Reviewer

Mr. Roboto might have been the hit single, but the rest of this concept album resembles the style that Styx used on Paradise Theatre with a somewhat bigger synthpop influence. They don't go full synthpop, mind - just like they didn't really go full prog on The Grand Illusion - which makes Roboto a bit uncharacteristic of the rest of the album, which is a shame because it's an undeniably catchy song. (Though it's rather unfortunate that the droids on the album cover or in the music video look like racist caricatures.)

The really big shift here is that whilst Paradise Theatre's concept was fairly restrained and sober - a state-of-the-nation look at America at the end of the 1970s through the allegorical lens of the rise and fall of a legendary concert venue - Kilroy's story is absolutely goofy. "Rock opera about a dystopia where music is banned" is very, very well-worn territory by this point; Rush got the idea out of their system on one side of 2112, Zappa stretched the concept to 3 LPs in the Joe's Garage series (but wasn't really focusing on the story that much, if at all), Dream Theater would base The Astonishing around it and that Queen jukebox musical uses the concept too.

Styx may well have been beating Queen and Dream Theater to the punch here, but Rush and Zappa had told this story before and done it better, and had done it not that long before Styx did it. Sure, the subject matter probably felt more immediate to Styx due to Christian groups objecting to Snowblind from Paradise Theatre, but even so it feels like they don't really have much to say about this concept which hadn't been said better by others, and DeYoung's quasi- Messianic posing as Kilroy is unquestionably cheesy.

If you like Styx's brand of cheesiness, that's not necessarily a problem, especially if the idea of a substantially more synth-focused take on Paradise Theatre appeals to you. If you fell in love with the sound of The Grand Illusion or Pieces of Eight, I can see why this album might bug you. I like it, but equally it clearly marks the point where the band's sound has strayed so far from their prog-adjacent hard rock roots that it's no surprise that they needed to spend the rest of the 1980s taking a break from being Styx after this.

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Studio Album, 1981
3.05 | 215 ratings

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Paradise Theatre
Styx Prog Related

Review by Warthur
Prog Reviewer

Doing a concept album just as you are dialling back the prog aspects of your work and presenting a more straight- ahead AOR style might be counterintuitive, but on Paradise Theatre the tactic pays off for Styx.

Hilariously. Christian groups and censorious politicians got upset about Snowblind - the former outright accusing it of being Satanic - despite the fact that it's not remotely as heavy as, say, Sabbath's song of the same name. There's at most a mild increase in the proportion of hard rock in the band's sound here compared to Cornerstone - but Cornerstone was a low water mark in that respect, and much of the album tends towards the softer end of AOR.

If you were charmed by The Grand Illusion because of the prog touches that Styx incorporated here and there in their sound and found their more straightforward material and ballads uninspiring, you likely won't dig this, but for those who find the latter aspects of their sound endearing this is a bit of a treat.

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Studio Album, 1979
2.74 | 208 ratings

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Cornerstone
Styx Prog Related

Review by Warthur
Prog Reviewer

As the 1970s faded away and the 1980s hove into view, the rise of punk and metal meant that hard rock sort of fell between two stools - too hard for people who wanted something softer, but no longer hard enough to satisfy audiences who had heard more aggressive and challenging sounds now flooding the airwaves.

Whilst Styx's Pieces of Eight was a defiant bit of hard rock with prog and pop touches which bucked the commercial trends of the era, Styx found their AOR blend dialling back on the hardness, turning into a form of pop rock with occasional prog influences and a good deal of synthesiser texture from Dennis DeYoung. The synths here certainly date the album a bit - too modern in their sounds to quite fit the mellotrons-and-Moogs era of the early to mid 1970s, but sufficiently dated that they still sound a little cheesy, but then again Styx's guileless, unironic embrace of mild cheesiness is perhaps part of their charm. Cornerstone might see them abandoning the balance of influences that made The Grand Illusion and Pieces of Eight so strong, but I can't say I dislike it.

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Studio Album, 1977
3.97 | 169 ratings

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Hope
Klaatu Prog Related

Review by Dapper~Blueberries

To be honest I do not really know how to make an introduction for this album, so why not just jump into it, shall we?

The album starts with We're Off You Know. Rather jazzy and pop sounding with a little hint of psychedelism. I say this is a good starter for this album. It adds a little quirky aspect to their sound that I really like. Feels like something from the mid 60s. Super fun start.

Next is Madman, which is more like a 180 from the first track. Pretty spooky, electronic, and new wave like. The vocals remind me of Peter Gabriel, and more electronic and experimental type sound gives it a haunting sound. Their sound is clearly wide ranging and seemingly ahead of its time.

Next up is Around The Universe in Eighty Days. I really love this track. Super symphonic and joyous. Reminds me a lot of Genesis or even Neo Prog bands like IQ or Anubis. I also love how it goes into a different direction than the last two tracks, being less poppy and goes for a more stylized sound, which I appreciate a lot. I appreciate my bands trying new things and using their music to experiment. This is the first real track I adore, and honestly right now, I am fairly hooked.

The next track is even better, being Long Live Politzania. The first half of the song is an orchestrated arrangement with that kinda creepy new wave sound from the second track while the second half has a more poppy sound while still keeping the orchestral arrangements going. With being 9 minutes, it's super proggy and amazing. I could not get enough of it, especially with the smaller bits and pieces of monologues and instrumentation. It goes a long way and makes every second feel worthwhile, and I just love it for that.

Next track is The Loneliest of Creatures. A lot more folk like, and gives me a ton of vibes from A Trick Of The Tail by Genesis. In fact, this whole album feels like some kind of Genesis tribute of sorts, with the arrangements feeling straight from their albums, but of course with a different, more pop-like style. Cannot deny, this song is super fun, and a treat to go through.

Next up is Prelude, a orchestral + rock arrangement with zero vocals. It is rather fun to go through. It goes super solid from minute to minute, and utilizes the sound found from the previous tracks to really elevate itself to a new core. I also love the ending of the song, how it just goes super hard and rocking about. I have been saying this a lot, but this is a fun song from a very fun album. You can clearly feel their enjoyment when making these songs.

Next up is So Said The Lighthouse Keeper. My first thought was some kinda tribute to Van Der Graaf Generator, specifically the song A Plague Of Lighthouse Keepers, but now it's very much its own thing. It's a sorta mix between the first two tracks, being pop-like but also very creepy and sinister sounding, plus that guitar. I swear the guitar playing is almost heavy metal-like. It is super cool and I just love it to death.

Lastly is Hope, which I gotta say might be the weakest track here. While it is beautiful and it builds to a good end payoff, it's kinda forgettable to me, and pales in comparison with every other track on this album. It's not bad, but I cannot say I ever really enjoyed it as much as I did with every other song here. Still good, just not as good as I want it to be.

So I really like this album. Again, super fun and super enjoyable. It is a well worthwhile album that wastes no time being an enjoyable romp through great pop songs with a proggy and symphonic flair. Definitely one I'd check out if I were you and never heard of this album.

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Studio Album, 2022
3.94 | 34 ratings

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Only Passing Through
Pattern-Seeking Animals Crossover Prog

Review by JohnProg

The music of Pattern-Seeking Animals is an example of what we could call 'a modern progressive rock band', that is, a proposal that, making use of the elements that characterize classic progressive rock, explores with modern instruments - both musical and production - new facets of Rock (Hard rock in most cases), thus differentiating themselves from 'retro' bands, more obstinate in using vintage instruments and more direct influences from classic bands.

Focusing more on the album, I would only say that there are two types of musical pieces on this one. On the one hand the shorter songs (1,4,5,6) that are quite accessible and that I would call - deliberately - 'rock songs with beautiful arrangements'. And on the other are the remaining pieces (2,3,7,8) which is where the band shows its creativity the most.

I would not say that this is an excellent addition to the music, but it is an interesting proposal that will surely give us better albums in the future. For now, just to listen to "Time Has a Way" I think this album is worth listening to.

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Studio Album, 1983
2.85 | 350 ratings

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Alpha
Asia Prog Related

Review by Warthur
Prog Reviewer

Words like "commercial" and "corporate" are slung at Asia a lot, and sometimes it's unfair and sometimes it isn't. One respect in which you can get them bang to rights when it comes to compromising their music for corporate reasons, however, comes to the songwriting on Alpha: the record company had noticed that the big hit singles on their debut album were all Wetton/Downes numbers, and so asked that Wetton and Downes write all the material here.

Thus it is that all the songs on Alpha are credited to the duo, bar for The Smile Has Left Your Eyes, which John Wetton penned by himself. This, of course, leaves Steve Howe and Carl Palmer almost on the level of session musicians, which might go some way to explaining why Howe didn't come back for the next album. Carl did, but Carl only had one songwriting credit on the debut anyway, so perhaps he was just happy to be there.

Not only did Howe have songwriting credits on about half the songs on the debut album, but they were fairly consistently the songs which had a bit more of a commercial spin and a bit less space for proggy moments, and that's exactly what the record company wanted here. Inevitably, the result is that the band's carefully-tuned prog-hard rock- pop blend ended up a little skewed away from the prog corner of that triangle.

If you're a listener who despised Heat of the Moment or Only Time Will Tell and regarded the proggier moments of the debut album as an oasis in a desert, then you'll likely find this boring. For my part, I find this at least an enjoyable blend of AOR and prog-tinged pop which benefits to an extent from a more unified musical direction behind it, even as it loses a little something as a result of losing the full range of flavours previously offered.

As a result, it's in a "one step forward, one step back" sort of situation: it's another enjoyable listen, but I'm not sure that I'm keen on listening on all that much Asia beyond this and the debut, and it's certainly a harder sell for fans of the four founder members' prog pasts than their debut was.

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Studio Album, 1978
3.63 | 268 ratings

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Pieces Of Eight
Styx Prog Related

Review by Warthur
Prog Reviewer

On The Grand Illusion, Styx did a fine job of walking the tightrope between poppy AOR and prog-tinged hard rock, and on Pieces of Eight they try to do much the same. As with its predecessor, it's a carefully judged balanced: there's just enough hard rock touches to make it feel credible in that arena without compromising the radio-friendliness, and just enough little flourishes to give a hint of prog whilst still prioritising pop hooks over prog complexity. (That said, going terse can bring its own benefits: on I'm OK the band cram a bunch of little movements into under six minutes, yielding a song which gives the feeling of a multi-part prog epic without demanding the runtime of one.)

This sort of alchemy makes them exactly the sort of band the term AOR was coined to describe - because they're not prog rock or hard rock or pop rock or soft rock to be unambiguously described by any of those terms, but are enough like all of those things that they're clearly some flavour of rock aimed at a somewhat more mature audience than more singles-oriented genres.

At the same time, "AOR" tends to be associated with very commercially-oriented material, but that's a little unfair here. Sing For the Day isn't the sort of song you do expecting it to be a hit, and likewise if you were just trying to churn out viable radio material the 1-minute instrumental The Message is a weird thing to spend time on; in 1978 if you were wanting to chase the big money you'd be making disco or new wave. (Styx would eventually do exactly that, but they don't do it here.)

In fact, you could argue that despite being as radio-friendly as it is, Pieces of Eight is commercial despite itself - it isn't necessarily being anti-commercial, but it is being anti-bandwagon. It's carrying the torch for progressively-tinged hard rock in an era when many bands working that style were shifting away from it - Lords of the Ring puts me in mind of the more grandiose efforts of early Queen, for instance, who this same year were putting out material like Fat Bottomed Girls. On the whole, the album doesn't capture the same lightning in a bottle as The Grand Illusion, but it comes very close.

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Studio Album, 2022
3.97 | 9 ratings

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Four
Temple Of Switches Crossover Prog

Review by alainPP

TEMPLE OF SWITCHES debuted in 2012 breaking down musical barriers by delivering dark, contemplative, dissonant, unrestrained, variegated alternative rock; brief avant-garde where jazzy and melancholy touches are added; founded by Tenk VAN DOOL and helped by drummer David WHITE of the group RATTLEFACE, they released this 4th opus with bluffing atonal sounds which must be ignored at the start. A progressive cinematic album where the eccentric is in order, where the classic mixes with the pure progressive of the 70's.

'Welcome' as an instrumental preamble title, rock with latent electronic components, its own from the start reminiscent of the Focus. 'Your Fly is Down' vocal Nick Cave or Rik Ocasek or David Bowie, electro new wave a tad offbeat, bucolic and psychedelic synth variation, strange, the bass prints a strong base. 'The Wind' operates a 180� musical shift with a clean air, Amanda Lehmann flirting with her borderline voice Marianne Faithfull; vibrant and subdued atmosphere on a spleen of sirens, the majestic organ adding a layer, sublime. 'Pareidolia' delves even further with this Arabicizing, eclectic and psychedelic Dead Can Dance instrumental; a bit of the Doors vibe in a trance with this monolithic reverb. Captivating and hypnotic, clear and filled with wisdom. 'Dale's Neglected Song' on a drum solo starting on a psychedelic The Cure; a bit of Focus, a master drumstick-drummed vintage rhythm by David for a trip down memory lane. 'Human Zoo' spins 90 degrees and goes to Crimsonian lands all to a high voice that amplifies instrumental dramatic grandeur; a title that surprises in a singular register with a final Genesis or Hackettian solo, it's up to you to see.

'Llamada a San Cristobal (Chepo's song)' on a Yessian declination for the bass and Genesis for the keyboards, the latent side and the flute, a beautiful bucolic Canterburyan instrumental exercise before moving on to 'the Unfurling' for the piece, thundering moment with delicate primary breaks, variegated tempo flirting on jazz with piano and its dark Crimsonian debauchery; uncompromising art rock with back and forth from the 70s to the recent 90s, an inexplicable title, surely one of the most beautiful progressive pieces of the decade with a contemplative final decrescendo. 'Freeway' denotes, heavy rock title of the 70's on the line of Blue Oyster Cult, always with a dissonant voice. 'Go Champion' drives the nail, the first Alice Cooper or T-Rex, on the glam in fact. 'Lemongrass and Thyme' for the finale on a singular bucolic variation, a mixture of Leonard Cohen, Johnny Cash for the phrasing; it's still confusing, intimate and melancholy yet enjoyable and vibrant; necessary to rest his ears from this uncompromising musical niche.

A bucolic album with mud, light rain, showers of petals, an eclectic album mixing various genres, simmered to get out of quirky and crazy retro prog but full of sensitivity, spleen, new musical sense. TEMPLE OF SWITCHES just did that dexterously; an album to listen to differently.

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  53. The Raven That Refused to Sing (and Other Stories)
    Steven Wilson
  54. A Trick of the Tail
    Genesis
  55. Hand. Cannot. Erase.
    Steven Wilson
  56. Still Life
    Opeth
  57. Rock Bottom
    Robert Wyatt
  58. Acquiring the Taste
    Gentle Giant
  59. Fear Of A Blank Planet
    Porcupine Tree
  60. A Drop of Light
    All Traps On Earth
  61. The Inner Mounting Flame
    Mahavishnu Orchestra
  62. Permanent Waves
    Rush
  63. Depois do Fim
    Bacamarte
  64. Romantic Warrior
    Return To Forever
  65. In Absentia
    Porcupine Tree
  66. Mekan�k Destrukt�w Kommand�h
    Magma
  67. Obscura
    Gorguts
  68. Space Shanty
    Khan
  69. Hatfield and the North
    Hatfield And The North
  70. Blackwater Park
    Opeth
  71. Misplaced Childhood
    Marillion
  72. Dwellers of the Deep
    Wobbler
  73. AHA6100 REGULATOR VOLTAGE HONDA TRX250X 2016- 229CC
    Opeth
  74. Radio Gnome Invisible Vol. 3 - You
    Gong
  75. 4 visions
    Eskaton
  76. Arbeit Macht Frei
    Area
  77. Viljans �ga
    �nglag�rd
  78. Symbolic
    Death
  79. Spectrum
    Billy Cobham
  80. Script for a Jester's Tear
    Marillion
  81. Hamburger Concerto
    Focus
  82. Voyage of the Acolyte
    Steve Hackett
  83. Emerson Lake & Palmer
    Emerson Lake & Palmer
  84. In A Silent Way
    Miles Davis
  85. If I Could Do It All Over Again, I'd Do It All Over You
    Caravan
  86. Second Life Syndrome
    Riverside
  87. Ashes Are Burning
    Renaissance
  88. Crimson
    Edge Of Sanity
  89. Felona E Sorona
    Le Orme
  90. Bitches Brew
    Miles Davis
  91. Maxophone
    Maxophone
  92. Of Queues and Cures
    National Health
  93. The Road of Bones
    IQ
  94. K.A (K�hntark�sz Anteria)
    Magma
  95. Sing to God
    Cardiacs
  96. Anabelas
    Bubu
  97. Car Front Sunshade Car Umbrella Silver Titanium Silver Alloy Bra
    Queensr�che
  98. Elegant Gypsy
    Al Di Meola
  99. Rubycon
    LOKSERT MS51830-106L PKG5 Key-Locking Thread Ins,1/4-20x3/8-16,P
  100. Remedy Lane
    Pain Of Salvation

* Weighted Ratings (aka WR), used for ordering, is cached and re-calculated every 15 minutes.

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100 MOST PROLIFIC REVIEWERS

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  14. SouthSideoftheSky (1597)
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  21. Bonnek (1333)
  22. kenethlevine (1319)
  23. snobb (1223)
  24. erik neuteboom (1201)
  25. Finnforest (1146)
  26. tszirmay (1032)
  27. Rivertree (1017)
  28. ClemofNazareth (1011)
  29. octopus-4 (1002)
  30. Cesar Inca (928)
  31. memowakeman (918)
  32. loserboy (897)
  33. Rune2000 (877)
  34. Marty McFly (840)
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  36. Neu!mann (759)
  37. Chris S (753)
  38. SWORD IN THE STONE ORIGINAL LOBBY CARD WALT DISNEY KING ARTHUR (722)
  39. DamoXt7942 (720)
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  42. progrules (666)
  43. Seyo (658)
  44. admireArt (643)
  45. Prog-jester (626)
  46. Epignosis (624)
  47. friso (623)
  48. lor68 (601)
  49. Prog Leviathan (582)
  50. Ivan_Melgar_M (560)
  51. andrea (552)
  52. philippe (540)
  53. VianaProghead (532)
  54. hdfisch (492)
  55. Chicapah (486)
  56. stefro (486)
  57. Menswear (476)
  58. Dobermensch (464)
  59. zravkapt (460)
  60. colorofmoney91 (459)
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  62. The Crow (447)
  63. ProgShine (444)
  64. russellk (440)
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  66. Sinusoid (403)
  67. Queen By-Tor (396)
  68. tarkus1980 (369)
  69. Nightfly (365)
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  71. Zitro (365)
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  76. lazland (352)
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  80. Guldbamsen (322)
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  84. Tom Ozric (306)
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  87. Flucktrot (298)
  88. progaardvark (290)
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  91. OpethGuitarist (287)
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  93. daveconn (266)
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  98. aapatsos (252)
  99. (246)
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