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  • "Santana's fourth album, Caravanserai, finally being reissued and remastered by Columbia Legacy/Sony, is a landmark recording for the band. Originally released in 1973, this album marked a change for the band, as they were moving away from the Latin tinged psychedelic pop rock of their earlier recordings to a more ethereal, jazz fusion based sound. Change also brought about line-up shuffles, as after this album second guitarist Neal Schon and keyboard player/singer Gregg Rolie left the band to form Journey. Famed keyboard virtuoso Tom Coster made his first appearance on this release, and he later spent many years alongside Carlos Santana in various incarnations of the band. The influence of groups such as Weather Report, Mahavishnu Orchestra, Lifetime, Miles Davis, Larry Coryell's Eleventh House, and John Coltrane are heard all throughout this CD. Latin percussion mixes with swirling organ while Santana and Schon's guitar licks run rampant on each track. While the bands signature melody on "Song of the Wind" still remains a classic, it's the extended breakouts on tunes like "La Fuente Del Ritmo" , complete with an amazing electric piano solo from Coster, and the energetic "Just in Time to See the Sun" that really shine. Drummer Mike Shrieve comes into his own on this albums more jazzy context, and the percussive tandem of Jose "Chepito" Areas, Mingo Lewis, and the legendary Armando Peraza provide the perfect Latin rhythms. "Every Step of the Way" features some wicked guitar work from Schon and Santana, supported by manic percussion and raging organ from Rolie, and stands out as a classic example of Latin jazz fusion.My advice to you all, don't walk, but run to your local CD shop and indulge yourself in this timeless classic. The remaster job is superb, with every instrument crisp and clear, and you get a nice booklet that goes into the history behind the album. A must have!" - Sea Of Tranquility
    $7.50
  • • A NEW 3 CD/1 BLU RAY REMASTERED BOXED SET EDITION OF THE CLASSIC BARCLAY JAMES HARVEST ALBUM.• FEATURING A NEW REMASTER OF THE ORIGINAL ALBUM MIX, ALONG WITH NEW 5.1 SURROUND SOUND AND STEREO MIXES BY STEPHEN W. TAYLER.• PLUS A RARE BBC JOHN PEEL CONCERT APPEARANCE FROM 1971,RARE OUT-TAKES AND THE 1972 SQ QUADROPHONIC MIX.• INCLUDES A LAVISHLY ILLUSTRATED BOOK WITH ESSAY BY KEITH AND MONIKA DOMONE.Released in February 1971, Barclay James Harvest’s second album was recorded at Abbey Road studios and was produced by Norman Smith. Widely regarded as one of the band’s early masterpieces, ‘Once Again’, the album was critically acclaimed upon its release and featured the Barclay James Harvest symphony orchestra and eventually attained Gold disc status.This new expanded edition features three CDs and an all-region Blu ray disc and comprises 44 tracks. The set features the original UK stereo mix remastered from the original master tapes and also includes stunning new 5.1 Surround Sound and stereo mixes by Stephen W. Tayler, a new remaster of the 1972 SQ Quad mix of the album and a multi-channel version of the 1972 Quad mix.In addition, there is also a rare live performance recorded for BBC Radio One’s John Peel in February 1971, and seven further rare bonus tracks, including an early version of ‘Mocking Bird’ and the full version of the unreleased piece ‘White Sails (A Seascape). The set also includes a lavishly illustrated booklet with a new essay Barclay James Harvest experts Keith and Monika Domone and a replica of a 1971 promotional poster.Track Listing:DISC ONEOnce Again – The original stereo mix remastered1 She Said2 Happy Old World3 Song for Dying4 Galadriel5 Mocking Bird6 Vanessa Simmons7 Ball and Chain8 Lady LovesBonus tracks9 Too Much on Your Plate10 Happy Old World (Take One)11 She Said (BBC John Peel Concert 1971)12 Mockingbird (BBC John Peel Concert 1971)13 Dark Now My Sky (BBC John Peel Concert 1971)DISC TWOOnce Again – The new stereo mixes1 She Said (new stereo mix)2 Happy Old World (new stereo mix)3 Song for Dying (new stereo mix)4 Galadriel (new stereo mix)5 Mocking Bird (new stereo mix)6 Vanessa Simmons (new stereo mix)7 Ball and Chain (new stereo mix)8 Lady Loves (new stereo mix)Bonus tracks9 Mocking Bird (first version – May 1970)10 Too Much on Your Plate (new stereo mix)11 White Sails (A Seascape) (complete version)DISC THREEOnce Again – The 1972 SQ Quadrophonic mix1 She Said (1972 SQ Quad mix)2 Happy Old World (1972 SQ Quad mix)3 Song for Dying (1972 SQ Quad mix)4 Galadriel (1972 SQ Quad mix)5 Mocking Bird (1972 SQ Quad mix)6 Vanessa Simmons (1972 SQ Quad mix)7 Ball and Chain (1972 SQ Quad mix)8 Lady Loves (1972 SQ Quad mix)Bonus tracks9 Galadriel (non-orchestral version)10 Mocking Bird (non-orchestral version)DISC FOUROnce Again96 kHz / 24-bit new 5.1 Surround Sound mix / new Stereo mixes /original stereo mix & 1972 Quadrophonic Mix1 She Said2 Happy Old World3 Song for Dying4 Galadriel5 Mocking Bird6 Vanessa Simmons7 Ball and Chain8 Lady LovesBonus tracks9 Too Much on Your Plate10 White Sails (A Seascape) (complete version)
    $36.00
  • "Helloween really couldn't have picked a more appropriate band to support them on their 7 Sinners Tour than Stratovarius. There's more than a few parallels between their respective careers and not just because the two are among the most influential in power metal. While they've each had their fair share of successes, both Helloween and Stratovarius have also faced a great deal of (well documented) adversity. Between all the internal drama, which eventually saw the exit of important band members, as well as poor musical output, future prospects must have looked bleak. But Helloween was able to bounce back; 2010's 7 Sinners was their best record in twenty-two years, and the two that preceded it were worthy listens as well. Stratovarius isn't quite there yet, but with Timo Tolkki gone, and the songwriting reins taken up by pretty much every one else, they seem to be moving in the right direction.Elysium more or less continues where Polaris left off in 2009. Think mid-paced, European power metal they helped popularize years ago alongside groups like Helloween and Sonata Arctica. Hardly revolutionary, to be sure, but that isn't Stratovarius' aim. Unfortunately, this serves to limit the scope of Elysium. As far as middling power metal goes, the album is top notch. But at the end of the day, middling power metal is still middling power metal. Give Stratovarius credit for when they do pull through; Matias Kupiainen's guitar work is consistently excellent, particularly in "Darkest Hours", and keyboardist Jens Johansson is no slouch as well. Problem is, this doesn't happen often enough. In a song like "The Game Never Ends", while the riffing is quite good, the formulaic structure and bland chorus hold it back. This isn't a problem unique to Stratovarius (one might remember Helloween struggling with the same issue ten years ago), but rather comes with the whole melodic power metal shebang. Because of how derivative it is, it's difficult to be very impressed. That isn't to say it can't be done; Sonata Arctica very nearly perfected the style between Elicptica and Reckoning Night. But they were successful because they incorporated a far more spirited dynamic into their music, something that can't be said about Stratovarius consistently enough.Interestingly, Stratovarius shows the most promise on the album's title track. Given the uneven level of quality heard throughout Elysium, (and the unfortunate tendency of other groups to screw up this type of song) an eighteen minute track seems ill-advisable. But it works. Although not departing too far from the band's comfort zone, "Elysium" at least breaks out of the rigid power metal model that constrains a lot of the earlier material. In doing this, Stratovarius adopts a more progressive approach, seamlessly incorporating a number of different movements into what turns out to be the most satisfying song the band has released in years. Impressively, Stratovarius avoid sounding bloated and overbearing, a pitfall that traps so many of their contemporaries; what could have sunk Elysium instead emerges as its biggest highlight.As it stands, Stratovarius haven't quite recaptured the flare that helped them claim initial success. However, Elysium is at the very least a clear step above much of the material the band has released, and considering how weak Stratovarius was, it’s a start. The band still has trouble with consistency and variance, and given how keen Stratovarius seems to be on playing it safe, Elysium is unlikely to draw in new listeners. However, the solid songwriting in the title track is encouraging enough; whether Stratovarius can fully revitalize ala Helloween remains to be seen, but listeners finally have reason for optimism." - sputnikmusic.com
    $12.00
  • Sophomore release from this Sabaton offshoot.  This time the Swede's fixation is on the American Civil War.  Whatever floats your boat (or sinks it as the case may be).  Digipak edition with two bonus tracks."Civil War: a Swedish metal band styled after the American Civil War of 19th century. I'm not sure I get foreigner's fascination with one of the worst times in my country's history. But here they are. This is my first experience with Civil War, so for those who know the band, bear with me for a few words about their origins.Civil Was started by four original members of Sabaton, Daniel Mullback, Rikard Sundén, Daniel Myhr and Oskar Montelius, when they bailed from the band in 2012. They hooked up with Nils Patrik Johansson, of Astral Doors fame, for a lead vocalist. They returned to their melodic power metal roots for their chosen musical style. Next, lyrically, the tell tales of war and warriors. Did I say four guys were original members of Sabaton? Yup. It appears there's a recurring theme here, and it is possible to reinvent the wheel.As for the music, it's rather typical power metal and really requires no explanation. However, in combination with the lyrical themes, you may have difficulty shaking off the Sabaton vibe. Yet, if you like military history, Civil War becomes somewhat of a thinking man's heavy metal band. Though their name suggests the songs would be about that American war, Civil War speaks to a variety of persons and conflicts.Some of these are self-explanatory like Braveheart (William Wallace), Schindler's Ark, Back to Iwo Jima or the Bay Pigs, the failed invasion of Cuba by rebels financed by the American government. Some need a little explanation like Admiral Over The Ocean which concerns Nelson and the sea battle of Trafalgar or Tears of the North, about Vikings in Russia. Two songs speak specifically to the American civil war: USS Monitor, about the first ironclad steamship created by the Union Navy and Gods and Generals. The intent of the latter is more sketchy; it could have something to do with the Jeffery Shaara novel of the same name. My digital promo came with a lyric sheet which was helpful. I'm sure the lyrics will be in the CD booklet.Again, all these things are wrapped up in melodic heavy and power metal: good melody and harmony, quick pacing, flourishes of synths, and lots of guitar solos. The wild card here is probably Johansson's voice. He has the gruff sandpaper style which, for me, has always taken some to time to appreciate. Overall, Gods And Generals is solid, if not typical, European power metal, with the thoughtful militry history lyrics the strong feature, though this is not novel either. Recommended." - Dangerdog.com
    $13.00
  • Digipak edition with bonus track."These Power Metal merchants are held in high regard thanks to their personnel who have the experience, plus the previous four albums by Silent Force have held the attention mixing the hooks with rampant guitar riffs and their flair for clinical execution.Their last album, 'Walk The Earth', was unleashed back in 2007 so there has been plenty of water under the proverbial bridge leading up to this release.One notable difference for fans of Silent Force is the absence of D.C. Cooper on lead vocals. He has returned to the mighty Danish Melodic Progressive Rock band Royal Hunt and on this album is replaced by Michael Bormann known for his work with Bloodbound and Powerworld.Known as the main brain behind these Metal marauders, Alex Beyrodt starts the proceedings with some Yngwie Malmsteen style fretwork before 'Caught In Their Wicked Game' runs loose. Fast paced and ready to eliminate the competition the band sound hungry and eager to please.The new vocalist here really complements the sound, but may have some struggles winning over purists who yearn for their favourite original singer. 'There Ain't No Justice' and 'Circle Of Trust' both thrust the sword through the torso as the energy remains relentless.I really enjoyed the opening salvo of these three songs the first time I heard this album, through to the fifth spin and so on. The latter of these three tracks retains a pop sensibility, but loses none of the Metal credentials that you'd expect from this band.Not much to find fault about regarding 'Living To Die' which doesn't have the same prominent and obvious hooks as the previous songs, but still retains the quality. Listen out for some tasty keys from Alessandro Del Vecchio in the song 'Before You Run' and there's some mean riffing throughout 'You Gotta Kick It'. The balancing trick between the keys and guitar is the love affair that makes this album so appealing to the ears. They are the real stars from start to finish.Sarah has a lot to answer for as 'Turn Me Loose' tackles a relationship lyrically and maintains the groove in the backdrop. Solid drumming from André Hilgers keeps the good ship Silent Force on course providing a solid backbone, but is still unable to save this song from being below par in comparison to the rest. Perhaps slipping a little through the gears and reaching auto-pilot, 'Born To Be A Fighter' goes through the numbers competently enough, but the sparks aren't flying.Meanwhile, 'Anytime Anywhere' picks up the level of quality and mixes things up with a fine arrangement oozing melodies at each turn. This brings us to the final track 'Kiss Of Death' which chugs along like your favourite Metal anthem. The chorus stands up well and is a great way to round off what overall has been an enjoyable journey.Eight out of ten of the songs here are monuments to their reputation and abilities. Top quality musicianship, crisp production and power found in the crevices are all that I was hoping for initially, plus a feisty and strong delivery from the new vocalist. Thankfully, they tick the boxes consistently apart from a couple of weaker tracks that don't quite reach up to the benchmark they set with the rest of the album. Let power and melody unite in a blissful collision once more, as album number five aligns itself with their back catalogue." - Metal Talk  
    $16.00
  • New 2CD "Definitive Edition".  The second disc features the live "A Live Time In Eden" release.Third studio album picks up from where Arcana leaves off. Gorgeous soaring progressive symphonic metal with a bombastic touch. Vocalist Sabine Edelsbacher continues to develop as one of the great voices in metal. Composer/guitarist Lanvall is great at coming up with anthem-like melodies. Sabine finally meets her male counterpart match in D.C. Cooper who guests on the 9 minute epic "Red Ball In Blue Sky".
    $15.00
  • Mega-rare US late 60's flower power psych/pop band with some subtle prog tendencies. Features lots of unreleased versions.
    $24.00
  • Double live CD recorded on the 2010 US tour in support of The Incident.  The set includes a complete live performance of "The Incident" recorded in Chicago as well as additional material recorded at the Royal Albert Hall in London.
    $15.00
  • Latest from German power metal Gods. On a roll with Theater Of Salvation and Avantasia. Can they follow it up?
    $20.00
  • "Few bands of the era offered as much variety in material from night to night. King Crimson’s propensity for improvisation & fondness for playing its newest material – often unreleased on record at the time of the concerts - is legendary. Fewer bands still, whether by accident or design, recorded so many of their live shows.Starless offers an in depth overview of one of the era’s most significant bands in its most celebrated live line-up.Autumn 1973: As King Crimson’s second lengthy US tour of that year was coming to a close, a short series of UK concerts for the end of October, followed by a more extensive European tour in November was already planned. Three of these concerts; Glasgow, Zurich & Amsterdam, were recorded as full multi-track recordings, with material from the Amsterdam show being used as core material for the January 1974 recording of Starless & Bible Black. From mid-March to the start of April, the band was on the road in Europe again, promoting the album with their final European concerts of the decade, prior to undertaking a further US tour. A number of these concerts were recorded on stereo reel to reel machines, fed directly from the signal as sent to the PA system on the night of the performance. These soundboards are often referred to as “The Blue Tapes”, named after the outer colour of the original tape boxes & are especially valued for both the quality of recording & performance.This boxed set presents eighteen CDs of live concert performances, seven of them mixed from the 1973 multi-track tapes and a further eleven presenting the complete run of “The Blue Tapes” for the first time. CDs of the ORTF Paris TV performance & the 2011 stereo mix of Starless & Bible Black also feature. Two DVD-A discs & two Blu-Ray discs contain concert & studio recordings in stereo, quadraphonic & full 5.1 surround sound – all presented in high-resolution audio."
    $165.00
  • "Formed in 2008 under the (thankfully dropped) name Rightdoor, Within silence are a melodic power metal band in the vein of Blind Guardian. As such you can expect huge swathes of guitar, souring vocals and banks of keyboards all vying for space amidst the pounding rhythms and heroic soloing. Growing steadily, the band have taken their time to draft their debut offering, the gleaming ‘gallery of life’, and it appears that it has been time well spent because the rehearsals, the time spent writing and then honing material on the road with the likes of Blaze Bayley has paid off with this confident and powerful album.Opening with a short, choral ‘intro’, ‘gallery of life’ immediately sets out its stall as an ambitious body of work designed to be heard as one contiguous piece. The intro builds nicely to the powerful guitars of ‘silent desire’. A perfect opening song, ‘silent desire’ immediately highlights the fact this is a production that oozes quality. The guitars are razor sharp, the choruses soar memorably and the playing is ultra-precise. It shows that Within Silence will settle for nothing less than perfection and there’s a sparkling ambition here that is impossible to ignore. ‘Emptiness of night’ is a fast-paced rocker with blazing guitars and a full-on vocal performance that is both powerful and brimming with confidence. There’s a strong Iron Maiden influence underpinning the cracking pace and guitar work, and it’s clear that the band have nothing less than world domination in their sights. Keeping the energy levels high, ‘Elegy of doom’ is another taut rocker with a rampaging riff and just the right amount of keyboard to add atmosphere without overpowering the song. It’s an early highlight of the record and make no mistake, within silence are a band who like to rock! It’s a trend that continues on the equally stunning, ‘The last drop of blood’, a full-on belter of a track that sounds like the band channelling Metallica, Maiden and Judas Priest all at once. It’s one of those adrenalin packed tracks that will get the blood pumping no matter what, and it must surely be a live favourite with its brutal riffs and memorable chorus. The track reaches its peak, however, with the excellent extended solo that runs wild over the second half of the song. Showing a lighter touch, ‘Love is blind’ keeps the energy levels maxed out but offers up a more pop-infused side of the band than found elsewhere, and whilst it still remains on the metallic side of the musical spectrum, it shows that Within silence have both the talent and confidence to fully explore their genre.The band briefly slow their pace for the more subtle opening strains of ‘anger and sorrow’, although the song does not take long to explode into a typically multi-stranded beast complete with extended solos and deft changes. Representing Within Silence at their most commercial sounding, ‘Judgement day’ is the sort of rollicking heavy metal ride that would have been all over the radio back in the eighties. Powerful and driven by a chorus that is only slightly less addictive than crack, ‘judgement day’ is a beast of a track. Next up, pounding drums lead us into ‘the world of slavery’, a song with a strong folk influence. Another track that benefits from some stunning guitar work, ‘the world of slavery’ is a metal epic that only gets better with repeated listens. The album concludes with ‘road to paradise’ which dips into ‘seventh son…’ era Maiden for inspiration. Another epic length track, it is a last chance for the musicians to spread their wings and soar, something which they duly do in impressive fashion. A short ‘outro’ sees the disc spin to a halt with choral voices echoing in the dark. It is a suitably dramatic ending for a CD that takes the listener on a wonderful journey from start to finish.Power metal can be, all too often, a genre where the keyboard elements overshadow the metallic elements. Thankfully, Within Silence, perhaps because of their lengthy time spent out on the road, keep their sound hard-edged throughout and the result is an album that packs a similar punch to the classic Maiden albums of the early eighties. There are crunchy riffs galore, endless solos and the sort of huge, soaring choruses that have made Blind Guardian such a powerful force. Talented, oozing confidence and with a wonderfully powerful set of songs, Within Silence have arrived and metal fans had best sit up and take notice, because these guys have the skill and the burning ambition to go far." - Sonic Abuse
    $14.00
  • "Walter Becker and Donald Fagen were remarkable craftsmen from the start, as Steely Dan's debut, Can't Buy a Thrill, illustrates. Each song is tightly constructed, with interlocking chords and gracefully interwoven melodies, buoyed by clever, cryptic lyrics. All of these are hallmarks of Steely Dan's signature sound, but what is most remarkable about the record is the way it differs from their later albums. Of course, one of the most notable differences is the presence of vocalist David Palmer, a professional blue-eyed soul vocalist who oversings the handful of tracks where he takes the lead. Palmer's very presence signals the one major flaw with the album -- in an attempt to appeal to a wide audience, Becker and Fagen tempered their wildest impulses with mainstream pop techniques. Consequently, there are very few of the jazz flourishes that came to distinguish their albums -- the breakthrough single, "Do It Again," does work an impressively tight Latin jazz beat, and "Reelin' in the Years" has jazzy guitar solos and harmonies -- and the production is overly polished, conforming to all the conventions of early-'70s radio. Of course, that gives these decidedly twisted songs a subversive edge, but compositionally, these aren't as innovative as their later work. Even so, the best moments ("Dirty Work," "Kings," "Midnight Cruiser," "Turn That Heartbeat Over Again") are wonderful pop songs that subvert traditional conventions and more than foreshadow the paths Steely Dan would later take." - All Music Guide
    $7.50
  • "Jeff Lynne reportedly regards this album and its follow-up, Out of the Blue, as the high points in the band's history. One might be better off opting for A New World Record over its successor, however, as a more modest-sized creation chock full of superb songs that are produced even better. Opening with the opulently orchestrated "Tightrope," which heralds the perfect production found throughout this album, A New World Record contains seven of the best songs ever to come out of the group. The Beatles influence is present, to be sure, but developed to a very high degree of sophistication and on Lynne's own terms, rather than being imitative of specific songs. "Telephone Line" might be the best Lennon-McCartney collaboration that never was, lyrical and soaring in a way that manages to echo elements of Revolver and the Beatles without ever mimicking them. The original LP's second side opened with "So Fine," which seems like the perfect pop synthesis of guitar, percussion, and orchestral sounds, embodying precisely what Lynne had first set out to do with Roy Wood at the moment ELO was conceived. From there, the album soars through stomping rock numbers like "Livin' Thing" and "Do Ya," interspersed with lyrical pieces like "Above the Clouds" (which makes striking use of pizzicato bass strings)." - Allmusic
    $7.50
  • Recorded on the 1977 tour. Material is drawn from Blow By Blow, Wired and Jan Hammer's The First Seven Days. Talk about pyrotechnics - this one is ridiculous.
    $7.50