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Progressive Rock CD Reviews


Gettin' Tight With Dreadnaught

Review by Gary Hill

I really like Dreadnaught. Their brand of prog is always unique. It seems to consistently change, too. The mix of sounds on this particular set is all over the place, often in each song. If you like your prog with a lot of variety and adventurous, but also accessible, you need to give this a try.

This review is available in book format (hardcover and paperback) in Music Street Journal: 2015  Volume 3 at


Track by Track Review
Nervous Little Dogs

This comes in with a purely amazing sound. It’s part vintage psychedelia and fast paced progressive rock. The cut works through several shifts and changes with one section of basically non-lyrical gang vocals. This is a pure powerhouse. It’s one of the best songs I’ve ever heard from Dreadnaught. Given their catalog, that says a lot. I love this thing. It’s a thrill ride. And, yet, it’s less than three and a half minutes in length. I definitely hear some nods to The Byrds on this.

The Badger
Drums start this. Then they work it out into another cool jam. It’s off-kilter and weird, but oddly catchy. This reminds a lot of modern King Crimson. Yet, there is plenty of Rock In Opposition and jazz here. The vocal lines just seem to jut out here and there. The cut changes at the drop of a hat, too. This is incredibly complex, yet oddly mainstream somehow. In some ways I’m reminded of Primus.
This Time Next Year
There are a number of varying elements and styles here. Sure, it’s got progressive rock and jazz in the mix. I can also make out a real rockabilly texture here. Sometimes this feels just a tiny bit like Steely Dan, too. Still, it’s intriguingly odd and unconventional. It’s a fun track that’s complex and yet infectious.
Knife Hits
The introduction to this is quite weird. It feels like something that might fit into the soundtrack of some strange film. There is an ominous element to it. That gives way to a jam that’s at once rooted in Americana and more and also rather like an odd kind of fusion. There are still plenty of changes as this moves forward. There is really some great guitar soloing on this song. It also has some noteworthy bass work. It’s essentially an instrumental and powerhouse one at that.
Barefoot Kicker
They don’t break any new ground here. This combines many of the same sounds as the previous cuts. That said, it’s arguably the strongest cut of the set. It’s both accessible and crazed. There are left turns than come out of nowhere. There are killer grooves, catchy hooks and powerhouse instrumental sections. This thing just plain cooks and twists and turns.
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