Jim Allen

The second installment of our journey into the deep end of the prog pool starts off with a salute to a relatively unsung hero who left us recently, but who also left behind a mighty legacy. Keyboard wizard Dave Greenslade didn’t get the kind of mainstream attention enjoyed by some of his peers. But between his solo work and his time with both Colosseum and the band that bore his surname, he made an imprint that identifies him in perpetuity as a first-gen prog innovator.

After the breakup of the Beatles, the Liverpool Echo weren't ready to give up on the Mersey sound. And so....

The Heaters were "proof of concept" for groups like The Go-Gos -- but their unique power pop sound was just a shade ahead of the curve.

A series of interviews conducted at a nursing home has become a testament to connection.

The titles are the same. But did Michael McDonald pinch the track from 1962 crooner Chuck Jackson? You be the judge.

Remembering the moody magic of a bewitching folk-rock troubadour. What would it have sounded like if Tim Buckley and The Doors had spent an October afterno

Welcome to the third installment in our ongoing exploration of all things prog. We usually give that term the most inclusive interpretation possible; but this time around, we’re starting things off with the band that’s been the very definition of prog rock for as long as there’s ever even been such a thing. In other words, we’re going to be talking to

The late Patrick Haggerty is widely revered as the man who put queer country on the map with his band Lavender Country. The group’s self-titled 1973 album boasts frank, funny, unflinching songs about gay life delivered with a uniquely ‘70s, loopy, lo-fi grit. And while the increased visibility for queer artists making music is becoming more common in 2026, at the time few were aware of the band’s existence. And so when Lavender Country was finally reissued in 2014 it really put things in focus for a new generation of queer Americana artists.

As one of the groups to some out of Athens, GA, The Michael Guthrie Band mixed The Kinks, The Who, and more for a fun, power pop sound.

The Wildweeds tried to join the country rock scene of the 70s, but didn't quite catch the brass ring. Still, they left this banger.