Revisiting my extensive music collection, one artist at a time


At the start of the new millennium progressive rock geeks like myself (is there any other kind of prog fan? 😀 ) rejoiced as members of four beloved…and diverse…prog bands from three different countries (UK’s Marillion, Sweden’s The Flower Kings and America’s own Dream Theater & Spock’s Beard) joined forces to create an epic masterpiece that paid homage to their ’70s heroes while adding their own unique touches. To my ears they delivered on that promise with complex arrangements, brilliant musicianship and a combination of instantly catchy melodies & harmony vocals that showcased their shared love of The Beatles. Of the four albums they’ve released to date, 2009’s The Whirlwind is probably their magnum opus, but their 2000 debut SMPTe is an impressive work considering these four musicians were just getting to know each other. See below for my previous write-up on this album from the fifth Great Out Of The Gate post.

For more information on this series, please read the opening paragraph of the first post, which featured the debut album from Led Zeppelin.




The 1990’s were a tough time to be a progressive rock fan. In the pre-internet days we had to rely on fanzines & mail-order catalogs, and then it was online chat rooms & fledgling websites. Record store clerks would look at you with derision but it was worth the effort when a new discovery emerged that excited us like the original prog bands of the ‘60s & ‘70s. For a long time the only progressive band to enter the mainstream was Marillion in the mid-‘80s, but by the next decade there were dozens of exciting artists from all over the world making a name for themselves. When it was announced that key members from four of my favorite prog bands would be forming a supergroup with the sole intention of creating a massive, classic-sounding progressive rock album, naturally I was excited, and I’m happy to say it lived up to expectations. Marillion bassist Pete Trewavas was joined by Dream Theater drummer Mike Portnoy, Spock’s Beard singer/keyboardist Neal Morse and The Flower Kings singer/guitarist Roine Stolt, and they delivered exactly what they promised. There are four originals credited to the four band members, with the opening 6-part suite “All Of The Above” clocking in at 31 minutes, and my personal favorite, “My New World,” making an impression at “only” 16+ minutes. There are also two shorter tracks, Morse’s ballad “We All Need Some Light” (whose melody often reminds me of John Denver’s “Annie’s Song,” believe it or not) and the quirky “Mystery Train,” which sounds like a 50/50 hybrid of Spock’s Beard & The Flower Kings. The album ends with their version of Procol Harum’s gargantuan 17-minute “In Held (‘Twas) In I,” an inspired cover that set the stage for many others they would include on the bonus discs of their three subsequent albums. For anyone who likes their prog over-the-top but filled to the brim with strong melodies & great vocals, SMPTe could be your gateway to the third generation of progressive rock that continues to thrive.


Since there are only four original songs on this album I’m only sharing clips of two tracks. If these pique your interest then you’ll probably love the half-hour-plus “All Of The Above” and then you’ll want to hear their whole discography.

Who else loves Transatlantic and the bands that spawned this supergroup? If you’re unfamiliar with them and think prog-rock is all tuneless noodling and songs about fairies & warlocks, you might be pleasantly surprised.

10 comments on “Satur-debut – TRANSATLANTIC “SMPTe”

  1. Aphoristical
    May 16, 2020

    As a fan of 1970s prog I haven’t connected with a whole lot of prog from the 21st century, but Transatlantic are really good. Prog really needs a strong vocalist, and Transatlantic have that.

    Liked by 1 person

    • Before trying out more 21st century prog you should explore the excellent progressive music from the ’80s & ’90s that got very little (if any) mainstream exposure, with the exception of Marillion, It Bites, Tool, Radiohead, Queensryche, Dream Theater and a handful of others. Bands like IQ, Pendragon, Anglagard, Anekdoten, Porcupine Tree (especially their ’90s output), Enchant, Echolyn, Toy Matinee, Djam Karet, Arena, Discipline, Fates Warning and so many more were looking backward & forward in equal measure at a time when nobody but the hardcore fans cared. And of course Spock’s Beard and The Flower Kings were the standard-bearers for prog through the ’90s and even now.

      Liked by 1 person

      • Aphoristical
        May 18, 2020

        I don’t think I’ve ever heard about It Bites before (and I know a lot of the bands on your second list).

        Porcupine Tree/Steven Wilson’s solo stuff and Fish-era Marillion are the other post-1970s prog bands I really enjoy, but I would like to try IQ sometime. I get there’s some prog influence on OK Computer, but I wouldn’t count Radiohead as a prog band.


      • I guess it all depends on your definition of prog. Mine is very loose and includes any artist who makes unexpected or unpredictable pop/rock music. It’s not just long songs and musical chops.

        Liked by 1 person

      • Aphoristical
        May 18, 2020

        Sure. I normally use the term prog rock for symphonic rock. I use art rock for the wider group of experimental acts that would include stuff like Can, Pink Floyd, Mitski, or Glass Beach.

        Liked by 1 person

      • I tend to not use genre & subgenre tags unless I’m describing an artist or album to someone. The rabbit hole can go very deep. Ironically, genres were never discussed when I was younger. All the bands known as classic 70s prog were just “rock.”


  2. 80smetalman
    May 17, 2020

    That brings back memories of 70s Yes and Emerson, Lake and Palmer.


  3. zumpoems
    May 14, 2022

    It is rather amazing to think how little progressive rock there was between 1981 and 1988. I still bought each new Peter Hammill album I pretty much used that time to improve my familiarity with great music before the 1960s, whether jazz or classical, picking up music by Chet Baker, Billie Holiday, Clifford Brown, the boogie woogie pianists, Sidney Bechet, Charles Mingus, Mahler, Bruckner, Bartok, Schubert and the surge of authentic performance recordings such as the Hannover Band’s Beethoven symphonies on original instruments.

    This second phase of prog is one I still try to come to terms with — it seems to me that for some of these later prog bands they are a little too self-conscious and somewhat overly concerned about being true to the spirit of the original prog bands to the extent of sometimes lacking in originality — much like the Dixieland revival groups of the fifties compared to the original early jazz bands. However, much of the work be the original prog bands that took to recording again after the 80s also is a mixed bag.

    No new posts from you for a while. Hope you are doing well.


    • Hey there, Zumwalt. It’s great to hear from you. I’m glad you were able to use that relatively prog-free time in the ’80s to expand your knowledge & appreciation of other genres. I enjoyed so much new-to-me music during the ’80s, which coincided with high school, college and my first real job (in the music industry). I know what you mean about some of the later prog bands sticking to a kind of formula where they had to emulate their predecessors instead of forging new ground. The best of those bands, however, wrote memorable songs & managed to sound unique.
      All is well here. I just haven’t had time…or motivation…for posting in quite a while. I started a couple of posts last year that continue an existing series, but I need to complete them…which I hope to do soon. I hope you & your loved ones are doing well. Cheers.


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