Top 250: #26 - #30

As promised at the beginning of this article series, when we reach top 30, we will only discuss five tracks per blog entry, and do it a bit more thoroughly. Time to start doing that now. There are still six blog entries left in the series, with only those five tracks discussed at length. Among the five listed this time, there is once again one artist appearing for the very first time!

30. Gravity Eyelids, by Porcupine Tree
(In Absentia, 2002)

Back at the end of 2000's, we were hard pressed to choose the best individual song of that decade. Following a lengthy period of thinking and comparing, we finally decided that number one position should go to that other song. The alternative would have been Gravity Eyelids by Porcupine Tree. We won't name that other song right now as we will most likely run into it further up on the list. In fact, we can call that a certainty. Still a little unsure if we made the right choice at the time, Gravity Eyelids is nonetheless the greatest example of modern metal laced symphonic progressive rock we can think of. Please check it out below.

The greatness of Gravity Eyelids lies in endless innovation as well as the varying musical styles contained within its relatively short running time. Too many recording artists go on to create an entire album from an equivalent number of ideas; here, Porcupine Tree is content with only eight minutes and packs all those ideas into that short timeframe. In Absentia was the first PT album where the group started toying with prog metal influences. This is one of the tracks where you can hear that particularly well.

29. Dissolving With the Night, by Blackfield
(Welcome to My DNA, 2011)

Blackfield has appeared on the list several times already, but Dissolving With the Night is the first track on it that originates from their third album. In fact, all others so far have been taken from their 2004 debut. The major difference here is that those tracks were written and performed by a duo, whereas this third album is a de facto solo album by Aviv Geffen. Please check out this stunning track below.

In the previous blog entry, when discussing Pain (#34), we already concluded that it seems to be Geffen who writes their most depressing songs. Now that Steven Wilson isn't even writing the songs, here is ample proof of that. Dissolving With the Night is a beautiful but immensely sad song about longing to be gone from this particular plane of existence - without even leaving a trace, like the lyrics state. They border on ludicrous self-pity but the music is so strong that it is easy to overlook an occasional banality.

28. Octavarium, by Dream Theater
(Octavarium, 2005)

American prog metal giants Dream Theater are the surprise element this time around. Even though we have plenty of their songs in our collection, for some reason none of them have appeared on the list until now. And what a grand entrance this song is! The title track of their 2005 album Octavarium is a 24-minute masterwork whose grandiosity can only be outdone by the utmost playing skill of the musicians. This is Dream Theater in their prime, and although the rest of the album is admittedly more than only a bit uneven, its title track is pure gold. Naturally, it closes the album.

We have already written about the track in June 2012, back when we were creating our Top 20 Long Prog Masterpieces list. At the time, this track almost made it to Top 10, eventually landing on the eleventh place. What makes its achievement on this list particularly impressive is its running time: you would think that it is easy for shorter songs to be played over and over again, but that longer tracks like this would be scarce especially this near the top. Well, they are scarce but there are some truly great exceptions to that rule, and Octavarium is one of them.

27. Scars, by Blackfield
(Blackfield, 2004)

Blackfield has appeared on the list numerous times already. This time, we are once again back on their 2004 debut album after our short sidestep to the third one (#29). What more can we say? Aviv Geffen and Steven Wilson's debut album was one of the key releases of the last decade that left a huge impact on us and even though we no longer listen to it as frequently as we did back then, there is no denying its historical significance. At the time, it felt like one of the best albums ever and would have been a strong contender for the title of Album of the decade had we not already heard Porcupine Tree's peerless In Absentia prior to its release.

Scars is one of the prettiest songs on the album, as you can hear if you click Play on the video embedded above. It is actually not an original work, but an English version of a song recorded by Geffen in Hebrew already four years earlier. Wilson's contribution is limited to co-writing the English lyrics as well as singing; Geffen's old band's playing is re-used on the Blackfield album as it is. This method was also employed on the group's second album: Geffen's old songs that were originally recorded in Hebrew were re-recorded in English.

26. Over and Out, by Foo Fighters
(In Your Honor, 2005)

So far, American rock group Foo Fighters has not appeared on the list anywhere near as often as Blackfield or Porcupine Tree. To be more precise, only twice: with Learn to Fly (#175) and the title track of their 2005 double album, In Your Honor (#165). That album is also one of those that really stirred us at ProgActive. First of all, we quite enjoyed its concept: release a double album with Disc 1 containing all the straightforward rock songs and Disc 2 containing mellow, acoustic songs. While we naturally veer towards the latter, we couldn't help enjoying some of the rocking songs as well. The title track is one of those.

The absolutely beautiful ballad Over and Out is from Disc 2, as it shows on top of the link embedded above: a melancholy, memorably written song about love either about to be lost or already lost. This is the subject of many of the most striking love songs. Are you there? Do you read me? Are you there? I don't feel you any more. There is nothing exceptional about the lyrics, but combined with the powerhouse songwriting, Over and Out is a true classic of the 21st century. In our opinion, it is the second best song by Foo Fighters we have ever heard. The best one might appear further up on the list.

Top 250: #31 - #40

Our next group of ten tracks is an interesting bunch. There are all the repeat offenders, but also a total of four first time appearances - three of which originate from the seventies. We begin with one of them. The repeat offenders are more or less the same as before, but in between the same names there will always be surprises. Remember, there will be a new artist even in our Top 3, appearing on the list for the first and only time at such a high position.

40. Gaudete, by Steeleye Span
(Below the Salt, 1972)
This one might just be one of the weirdest entries in the entire Top 250. In Gaudete, British folk rock group Steeleye Span sing about the birth of Christ, in Latin, for a little over two minutes. And that's all - there are no instruments, they are only singing. Slow fade in and fade out use a large portion of the playing time that is already short to begin with. Gaudete originally caught our attention in the early seventies - heard once on the radio but not found again before the age of internet, when lost items became easier to locate. It is an absolutely beautiful song that was played a lot at ProgActive premises for some time. It has managed to hold on to its relatively high position well.

39. Here is the News, by Frost*
(2007 - 2008?)
Finally, we had to give up. It seems impossible to find this track anywhere in the net for embedding here. Originally, Here is the News is the 1982 cult classic song by Electric Light Orchestra. Exactly like in case Music in the Typewriting Room (#69), this cover version by Frost* was possible to download from their web site around 2008 when we happened to find it there and did just that. Unlike Typewriting Room, this one was not a personal experiment by Jem Godfrey; this was the real thing, a hard rocking version of the song by Frost* the whole group. In many ways, it improves on the original. Luckily, we downloaded it around 2008 and added it to our iTunes collection. It has played a lot since.

38. Stop Swimming, by Porcupine Tree
(Stupid Dream, 1999)
Here is another track from Porcupine Tree's 15-year-old album Stupid Dream, besides A Smart Kid (#80). That album's beautiful closing track Stop Swimming has a rather depressing theme and sorrowful melody, yet the lyrics also wield peculiar black humor. Stopping swimming is here a metaphor on giving up on life. Our favorite artist Steven Wilson (also pictured above) sings one of his many incomparably lovely tunes with a style that sounds oddly detached from the subject matter. The lyrics are sad / blackly funny, but the singer sounds indifferent, like he had stopped caring. Which kind of might just be the point.

37. Thrasher, by Engineers
(Engineers, 2005)
Hmm, it looks like we really are repeating the same artists over and over again, like we warned at the beginning. No reason to be ashamed of that, though. We have long since entered masterpiece territory, and these artists have simply achieved that level several times. Here is one more example. Thrasher is an absolutely brilliant pop song by our favorite shoegazers Engineers. Although calling it simply pop is a bit misleading, considering the rock and roll instrumentation. Please take note how the group is able to change key in surprising places. This ability will prove useful also later on...

36. Falling Down, by Frost*
(Experiments in Mass Appeal, 2008)
Next, why don't we listen to some Frost* once again. This time, their song is available in YouTube. Falling Down again exemplifies the harder rocking side of the group - a bit like Dear Dead Days (#54) but not quite that aggressive. Jem Godfrey is also a professional record producer, and hence it was no big surprise that the group's debut album Milliontown was widely praised for its production values. This second album wasn't, but Falling Down is a good example of great, massive sounding song exactly like those on the first album. Perfect music with great sound quality.

35. Pink's Song, by Richard Wright
(Wet Dream, 1978)
Pink Floyd keyboardist Richard Wright wrote some great songs for that group as well, but perhaps his greatest masterwork went to his solo album Wet Dream that was released between Floyd albums Animals and The Wall. By that point, Roger Waters had appointed himself as the artistic director and leader of Pink Floyd and composed nearly everything that group recorded, so it is easy to see why Wright needed an alternative outlet for his creativity. One of the results was this beautiful, sad song that feels like an album closer - which it isn't, there is still one track after it.

34. Pain, by Blackfield
(Blackfield, 2004)
Yet another absolutely beautiful but infinitely sad song on the list, Pain is a fitting companion piece to Pink's Song above. Here, Blackfield is melting in the rain, deep in pain, while she is so far. Will they ever meet again? It appears that it has been Aviv Geffen who specializes in these sorrowful tunes, since they have continued to appear on the more recent Blackfield albums as well, while Steven Wilson has effectively left the group. No matter - in spite of the sad subject matter, Pain is a real delight to anyone who appreciates well composed, lovely pop songs.

33. Auto Rock, by Mogwai
(Mr. Beast, 2006)
This elegiac instrumental track was made famous by Michael Mann's film version of his hit TV series Miami Vice in 2006, where it plays during its final sequence. It has been a major favorite of ours ever since. One reason for it having played so much is that it is the kind of music that doesn't feel out of place in any situation. Auto Rock got us acquainted with Scottish group Mogwai, whose career we have been following closely since then. It is taken from their fifth studio album Mr. Beast; since then, they have released three more. And this is their first appearance on the list, and most likely the only one as well.

32. Are You There? by Anathema
(Hindsight, 2008)
Are You There? is another absolutely stunning song by Anathema. Originally, they released it on their seventh studio album A Natural Disaster in 2003, but the version on our list is the "reimagined" one from the group's compilation album Hindsight, out five years later. On it, Anathema re-recorded their earlier works as acoustic, more mellow versions. Inner Silence (#107) is also from this very same album. To us, Are You There? represents the very best the group from Liverpool has ever achieved. Having said that, it seems unlikely that they would make a third appearance further up on the list, but you never know.

31. Zum Wohl, by Cluster
(Sowiesoso, 1976)
The German experimental duo Cluster rarely set out to deliberately please their listeners. Zum Wohl is the rare exception: a peaceful, beautiful instrumental that you could easily listen to for twice longer than its seven-minute running time. Next, the duo would start working with Brian Eno on a few albums. It seems like the seventies are making a comeback - this is already the third track in this particular group of ten that originates from that golden decade of progressive rock. Next time, we will enter the Top 30 which will really up the stakes.

Top 250: #41 - #50

We are now entering the Top 50 on our list, which can mean only one thing. The songs are getting greater and greater and the list turns into a long succession of masterworks. We strongly recommend that you check out everything embedded here, as well as in all of the following entries - if you are not doing so already.

50. Saint Tom, by Brian Eno
(Music for Films III, 1988)
In the late eighties, Brian Eno released already the third part to his Music for Films series whose first part had come out a full decade earlier. The original Music for Films (1978) was a solo album; More Music for Films (1983) was a joint effort between Brian Eno, Roger Eno and Daniel Lanois that partially overlapped Apollo by the same trio. Music for Films III was an even more of a joint effort: there were several additional artists performing on the album, and only three of its 15 tracks were Brian Eno's solo works. Saint Tom is the album's stunningly beautiful opening track, one of the most memorable compositions the man ever made.

49. Chair Father, by Yasushi Yoshida
(Secret Figure, 2006)
And then it's Yasushi Yoshida time again! Chair Father fits in this slot particularly well since it is quite a lot like Brian Eno's Saint Tom: an exceptionally beautiful instrumental track that moves at a leisurely pace. Judging by the number of Yoshida tracks, it is easy to see that the man is a major favorite of ours. Within the space of only 25 tracks, there have been Parade (#56), Little Hands (#65) and Picture of Three Life (#72). This is the point where we run out of Yoshida tracks, however; Chair Father managed to climb highest up of them all. They are not too dissimilar, all of them are lovely, and it should be pretty easy to guess that all except one come from the same album.

48. Get All You Deserve, by Steven Wilson
(Insurgentes, 2008)
We remember having written in our previous blog something like this about Steven Wilson's masterpiece Get All You Deserve: had it been recorded in the seventies by King Crimson, it would already be hailed as a classic today. Wilson's song employs just about the entire dynamic range available, starting with deceptively restrained, quiet sounds and then going on to gradually fill the room. The cacophony in the end borders between actual music and plain loud noise, but by that point the difference has no significance. You have already understood the composer's master plan and can only listen in awe.

47. The Dividing Line, by Frost*
(The Philadelphia Experiment, 2010)
There have been several Frost* tracks from their second album Experiments in Mass Appeal (2008) on the list recently. Here is something even more recent: the all new studio track from their live album The Philadelphia Experiment; a hard rock / symphonic progressive rock masterwork that runs nearly 17 minutes and has managed to climb quite high up on the list. Such great fun and skilled musicianship! Apparently the track is a dedication to the American internet radio station that used to play a lot of prog in their programs and was most active during the couple of years both before and after the decade turned.

46. Through the Other Side, by Riverside
(Rapid Eye Movement, 2007)
The Polish progressive rock group Riverside has always liked to tread the thin line between symphonic prog and progressive metal. There is, however, no trace of metal on this beautiful track that remains our number one favorite in their output, even after all these years. Through the Other Side is a lovely, peaceful song that is dominated by vocals and acoustic guitar. Yet there is also a pounding tempo: percussion played with what could be a bass drum (?). And cymbals, of course. Great song from a group of rising talents that still seem not to be getting quite the attention they'd deserve.

45. Black Light Machine, by Frost*
(Milliontown, 2006)
Then it's Frost* again, and this time we return to their golden age. Black Light Machine is a ten-minute orgy of greatest modern progressive rock there is. In particular, it showcases the talent of the musicians: John Mitchell's electric guitar wizardry and Andy Edwards' drumming magic are both peerless. The only slightly weaker link here is the songwriting itself: there is nothing particularly mesmerizing in the lyrics or composition of Black Light Machine, although the song is played extremely well. On the album Milliontown, it works as the link between shorter tracks and the massive 26-minute title track - a sort of preparation for a really long form.

44. Never the Same, by Echolyn
(As the World, 1995)
Now we have really entered masterpiece territory. The most beautiful and moving song ever recorded about the promise of everlasting life has been called the greatest song of the 1990's in the comments section of this YouTube video, and we have to agree that this might just be a true statement. Echolyn, who have appeared on the list several times already, don't associate their life after death song with any religion. They simply sing touchingly about the hope of seeing your loved ones again "on the other side, some day". Even though Mei is easily the group's best album, and in its 50-minute glory also one of their best individual songs, this must still be their number one achievement in the song category. An absolutely stunning piece of work.

43. I Love You Always Forever, by Donna Lewis
(Now in a Minute, 1996)
The second nineties song in a row is very different from the first one. It has nothing to do with progressive rock but everything to do with our peculiar fetish of enjoying grown up women singing in a little girl's voice. And even that's not all. Actually I Love You Always Forever has been used as a theme song in our weddings, which has given it plenty of additional playtime. And last but not least, it is a great pop song, one of the very best in the decade during which it was released. Before this, it never occurred to us that the song might have an official music video, but here it is, embedded above. Those were the days.

42. Significant Other, by Steven Wilson
(Insurgentes, 2008)
Here comes a "single hit" Steven Wilson style! This track is as far removed from the extremely challenging Get All You Deserve as you can get: basically a pop song but played as rock'n roll with an incredibly wide and high soundscape. The chorus is an ear worm waiting to happen, and electric guitar work is nothing short of striking. The album Insurgentes has been a major favorite of ours: so far, we have listed this track, Get All You Deserve (#48), Insurgentes (#51), Harmony Korine (#61) and Twilight Coda (#76). How many more can there be? Will Steven Wilson be the artist with most entries on the list?

41. Deadwing, by Porcupine Tree
(Deadwing, 2005)
The answer is almost certainly yes, if you count into the total number both his solo work and the songs from all the groups he has been a member of. Here, Wilson leads Porcupine Tree into one of its greatest successes. The title track of their 2005 album Deadwing is a nearly ten minute long fusion of progressive rock and metal, impeccably composed and played. It is not only a great song, but the whole album is considered by many the pinnacle of PT's career. We agree in part - there are several outstanding songs on Deadwing, and it is definitely one of the group's best, but we have always preferred In Absentia.

Top 250: #51 - #60

60. Dayvan Cowboy, by Boards of Canada
(The Campfire Headphase, 2005)
Back in 2005, Dayvan Cowboy was selected as the track for which Boards of Canada's first ever music video was created. That is it, embedded above. One of the Scottish brothers' best and grandiose compositions has been a long time favorite of ours, and it still plays occasionally. This is the third appearance for Boards of Canada on the list, following Julie and Candy (#168) and Satellite Anthem Icarus. One more appearance is likely, because we still haven't listed the most impressive track from their masterpiece The Campfire Headphase.

59. Where Am I Going, by Manfred Mann Chapter Three
(Manfred Mann Chapter Three, 1969)
The oldest track in the entire Top 250 and the only one to originate from the sixties is Where Am I Going by Manfred Mann Chapter Three. During the seventies, Mann would go on to become famous heading his Earth Band, but we don't think he ever quite surpassed this early masterpiece he made with Chapter Three. We are in a particularly reflective mood here; the slow song sounds like mellow jazz and has surprisingly existential lyrics considering its place on a pop album. It's like the last slow piece of the night, inviting people to one last dance before the smoke stained night club closes its doors.

58. Tender Claim, by Nosound
(A Sense of Loss, 2009)
The Italian group Nosound's Tender Claim represents to us just about the best and most beautiful contemporary art rock there is. A Sense of Loss, out almost precisely five years ago, is a bit uneven but luckily contains such pinnacles as this song and Constant Contrast (#211). On this album, as well as on its predecessor Lightdark (2008), Giancarlo Erra's talent for composing beautiful, ethereal melodies shines and elevates these two the best recordings they have released - Lightdark possibly the true pinnacle. The finale of Tender Claim is arguably the high point for the group so far.

57. Rose, by A Perfect Circle
(Mer de Noms, 2000)
Even this far up on the list, there are still artists that appear on it for the very first time. (In fact, we could reveal already that even Top 3 contains a certain artist's one and only track on the list!) A Perfect Circle released this outstanding experimental / progressive metal track back in 2000. As most readers probably know, the singer here is Maynard James Keenan, even better known as the vocalist for one of our favorites Tool. Mer de Noms was the first album of this supergroup featuring also other musicians from other bands.

56. Parade, by Yasushi Yoshida
(Secret Figure, 2006)
Here, however, comes yet another repeat offender. For Japanese composer Yasushi Yoshida, this is already the fourth appearance on the list. Two of the previous tracks were from his debut album Secret Figure which now offers us yet another soothing and pleasant moment of peaceful instrumental music. Parade is a longer, separate track from Parade (For Closure, #149). In fact, For Closure appears first on the album, as a kind of a prologue to this Parade. It takes you to a wonderfully calm and lovely place - just close your eyes and relax.

55. Once Again, I Revert to That Perspective, by Maju
(Maju-2, 2000)
The second Japanese artist in a row, Maju has already appeared on the list once, with I Drew a Final Breath in the Dream (#106) from this very same album. The electronic music group from Tokyo, led by Hosomi Sakana, has released five full length albums. Of them, the second one that came out in 2000 seems to be our biggest favorite. That said, our number one favorite individual track in their output is from one of the other albums and might well appear further up on the list... Once Again, I Revert to That Perspective is a magical, atmospheric masterpiece of electronic music.

54. Dear Dead Days, by Frost*
(Experiments in Mass Appeal, 2008)
Following the previous track by Frost* that appeared on the list, Toys (#63), Dear Dead Days marks an abrupt change from light entertainment to heavyweight art. Everything about this song is to be taken seriously: the seething, almost unpleasant lyrics about unthinkable conditions in a sick family unit, to the outstanding, even aggressive symphonic / neo-prog composition bordering on genuine hard rock and even carrying faint traces of heavy metal. It is serious songs like this that truly prove that, within its chosen field, Frost* is a force to be reckoned with.

53. October Language, by Belong
(October Language, 2006)
October Language is an awesome instrumental track from an album carrying the same title, recorded and released by New Orleans experimental musicians Turk Dietrich and Michael Jones in February 2006. The duo call themselves Belong and have released only one full length album since, in 2011, in addition to three EP releases. In October Language, they are treading a fine line between post rock and ambient - in much the same way as fellow Americans Caspian or Explosions in the Sky - and do it with undeniable style. We don't really care much about the rest of the album but its title track is pure genius.

52. A Given Right, by Engineers
(Folly, 2004)
This is it: the genesis of Engineers. Their first published recording containing more than just a couple of songs was not a full length self titled debut album that came out in 2005, but an EP called Folly, out a full decade ago - 27 September 2004, to be precise. Prior to it, they had released two singles but this collection contained six songs, so it was like half an album. A Given Right is the opening track, their first true masterpiece. First, there is a quieter sequence that introduces us to the song, then a massive wall of sound with no lyrics; something the group has always done well. Then, the quieter sequence is repeated. Fade out. Enter goosebumps.

51. Insurgentes, by Steven Wilson
(Insurgentes, 2008)
For the second time in a row, we close our blog entry with something taken from Steven Wilson's debut album. Last time, we listed its opening track Harmony Korine (#61); now, it is time to discuss its closing track (or, if you own the Deluxe Version, the last track of Disc 1). The title track brings the album to its peaceful conclusion which is a relief following the aggressively noisy Get All You Deserve that precedes it. Mr. Wilson sings most of the song backed with only a piano, until near the end a moody acoustic guitar is added to the mix. The result is simply brilliant. We can guarantee that Steven Wilson will be back further up on the list.

Top 250: #61 - #70

70. False Start, by OSI
(Blood, 2009)
OSI, the American prog metal outfit led by Fates Warning guitarist Jim Matheos and original Dream Theater keyboardist Kevin Moore has been a ProgActive favorite for several years already. We failed to discover the group until after the release of their third album Blood, which we think remains their finest effort to date. Released in late April of 2009, the album features Porcupine Tree drummer Gavin Harrison, with Mikael Åkerfeldt of Opeth and Tim Bowness of No-Man as guest musicians. Talk about a stellar lineup! False Start is our favorite track on the album, but there are several other excellent tracks on it as well. It is a short, three minute prog metal masterwork.

69. Music in the Typewriting Room, by Jem Godfrey
(2001?)
Now here is a true rarity. We originally found this gem at the web site Frost* used to have around 2008 - this song and several others - that was closed soon after and the tracks stored there went missing. Now, Music in the Typewriting Room can be found in YouTube! What begins as a rap track soon turns into a massive progressive rock masterpiece with an enjoyable time signature, whatever it is. Whoever uploaded this to YouTube claims that it is a Frost* track but if our memory serves right - and we're quite certain it does - , it was credited as having been recorded in 2001 - years before Frost* was even formed. So, we believe it is Jem Godfrey who deserves the sole credit here.

68. Locust to Bethlehem, by Echolyn
(Echolyn, 2012)
American symphonic progressive rock group Echolyn has already appeared on the list a few times. Their most recent album came out in June 2012 and was already their second self titled release. We feel it is their second best following the unbeatable Mei (#95) that came out a decade earlier. From this recent release, longer tracks Island (#125) and Speaking in Lampblack (#202) have already appeared on the list but it is this shorter song that made it a lot higher up than those other two. Locust to Bethlehem is a five minute work of art that deceptively begins like a country song, then transforms itself to full progressive bloom with a lovely string section in the background.

67. Vapour Trails, by The Pineapple Thief
(Variations on a Dream, 2003)
Another group that has also appeared a few times on the list by now is The Pineapple Thief. They have successfully navigated the borderlands of guitar driven art rock and genuine symphonic prog for the best part of two decades. Vapour Trails is from their 2003 album Variations on a Dream which we feel still remains their best. There have been two other songs from the album already listed further down: Remember Us (#113) and Resident Alien (#206). Vapour Trails is very reminiscent of the downbeat sounds of those two, although it isn't actually a sad song; only melancholy.

66. In Search of Peter Pan, by Kate Bush
(Lionheart, 1978)
The second track from the second album by British singer Kate Bush has always been ProgActive's number one favorite in her entire recorded output. No wonder then that this stunningly lovely song has climbed this high. This is Kate's first appearance on the list and this song being a favorite of ours, it would seem quite unlikely that there will be others further up. Still, let's not rule it out yet. In Search of Peter Pan displays the vocal acrobatics that made the singer such a smash less than a year earlier. In places, the vocal work reminds us of Kate's breakthrough single Wuthering Heights.

65. Little Hands, by Yasushi Yoshida
(RUFS, 2008)
Further down on the list, we have already discussed two of Japanese composer Yasushi Yoshida's tracks called Picture of Three Life (#72) and Parade (For Closure, #149), both taken from his 2006 debut album Secret Figure. Little Hands was released two years later, on a compilation album with several various artists appearing, called RUFS. It closes that album in a memorable fashion: one of the most beautiful piano compositions ever recorded, Little Hands used to play all the time at ProgActive and it is actually a small surprise that it isn't any higher up on the list than this.

64. Said and Done, by Engineers
(Engineers, 2005)
The songs on the list are getting greater and greater. Engineers has already appeared on the list a couple of times. Said and Done is taken from their self titled, full length debut album that was released back in 2005. This particular album has appeared on the list once before: Come in Out of the Rain (#134) is a rather similar, beautifully calm and extremely beautiful pop song that, like Said and Done, is as soothing and mellow as they come. This masterful British group is almost certain to appear again higher up. Could be quite a lot higher, actually.

63. Toys, by Frost*
(Experiments in Mass Appeal, 2008)
The British group Frost* might just be ProgActive's number one favorite contemporary artist. We are still eagerly waiting for their third full length album and hope that some day it will materialize. Before that actually happens, we will have to be content with the earlier works and the occasional individual new track (The Dividing Line, Fathers, Heartstrings). Toys is from their second album: a short but powerful track that runs for a little over three minutes, displays complete control of symphonic / neo-prog, then ends. It is not as noticeable as some of the group's more massive works but a small gem nonetheless.

62. Say Goodbye, by Fleetwood Mac
(Say You Will, 2003)
This beautiful, even downright moving song about the end of love is taken from Say You Will, which is still American group Fleetwood Mac's last full length studio album - released eleven years ago. The song was written by long time member Lindsey Buckingham and was obviously about him finally letting go of fellow band member Stevie Nicks - although the former couple had already split in the seventies, during the making of their greatest hit album Rumours (1977). The autobiographical angle makes the song all the more touching. Many of the most moving love songs are about its end; not the romantic beginning.

61. Harmony Korine, by Steven Wilson
(Insurgentes, 2008)
So begins Steven Wilson's solo career. We mean officially; the first Porcupine Tree albums in the early nineties were already his de facto solo albums. In 2008, however, Wilson released Insurgentes under his own name; this is the first track of that first official solo work. And it is quite a start: well written, easy to remember melody and some hard rock riffs form a very impressive whole. There would also be a single release, as well as a music video which has been embedded above. Wilson has been busy with his solo work since; it is anticipated that his fourth one will be coming out next year. So far, so good.