Prog Rock Sub-genres: Crossover Prog

Crossover Prog contains progressive rock music that, though it's progressive, may have a musical connection to popular music, whether it's because of the lack of emphasis on extended compositions, or an influence from mainstream music in addition to classical, jazz and folk. Compositions, however, still exhibit a high degree of sophistication, sometimes outright complexity, and the musicianship and virtuosity is often on a par with established prog acts. Much like their kin in the established prog sub-genres, these groups will incorporate many major parts of what defines prog rock: the fusing of rock with the structures and discipline of more traditional musics, the use of syntheisizers and new technologies, intelligent thematics, and the expansion of the form. The defining characteristics of Crossover Prog are a pop music influence that is largely vacant in typical prog rock. Songs tend toward shorter, more concise presentations though still reach beyond the typical verse, bridge, chorus pattern. The harmonic, melodic, and rhythmic structures may be more easily digested in Crossover while not losing the musical integrity that a prog listener expects. Whereas Prog Related bands are generally commercial groups with certain prog elements or players that were involved in prog acts, Crossover Prog artists are predominantly progressive with elements of popular music. The most representative examples for this genre include The Moody Blues, Supertramp, Peter Gabriel, Radiohead.

The Moody Blues-Night: Nights in White Satin (Days Of Future Past, 1967 UK)

Supertramp-School (Crime Of The Century, 1974 UK)

Peter Gabriel-No self control (Peter Gabriel 3-Melt, 1980 UK)

Phideaux-Thank you for the evil (Doomsday Afternoon, 2007 US)

Gazpacho-Dream Of Stone (Night, 2007 Norway)