Down To Earth ($5 SPECIAL)

SKU: 3145473642
Label:
Polydor
Category:
Hard Rock
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After Ronnie James Dio split, Blackmore replaced him with Graham Bonnet and brought in his old bandmates Roger Glover to handle bass as well as produce.  Dio's mystical element was gone but the album was rock solid.  Remastered edition.

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  • The official title of this amazing Spanish quartet is actually One Of These Days & Thee Heavy Random Tone Colour Lab.  This is the band's debut release and is only available on vinyl.  It arrives on 180 gram vinyl in a numbered limited edition of 500 copies.  Gorgeous artwork form Iria Rodriguez.  You also get a download code for mp3s of the album.This is pure retro/prog/psych plain and simple.  Beyond the tip of the cap with their name, the band draws some musical influence from Atom Heart Mother era Pink Floyd.  The album consists of 4 long tracks.  When the band stretches out I'm also reminded very much of early Nektar - say Tab In The Ocean.  Organ, 'tron, analogue synths - all the good stuff is here.  Guitars have the right sound.  Its not like metal guitars grafted onto an old school sound (some of the new Italian retro bands seem to get this wrong).  This album reeks of the early 70s.Quite a stunning release.  If you can play vinyl you have no choice...BUY OR DIE!
    $30.00
  • New reworked edition of the band's first album - from back when they were originally known as Witsend.  This new version features remastered, resequenced tracks, bonus tracks, new artwork and liner notes.  It might have been their first album but it was certainly one of their best!  Highly recommended.
    $12.00
  • Remastered edition with 2 bonus tracks."Easily one of the most important heavy metal albums ever released, Stained Class marks the peak of Judas Priest's influence, setting the sonic template for the New Wave of British Heavy Metal more than any other single recording. This is the point where Priest put it all together, embracing their identity as the heaviest band on the planet and taking the genre to new heights of power, speed, musicality, and malevolence. Not until Painkiller would the band again be this single-minded in its focus on pure heavy metal. Their blues-rock roots have been virtually obliterated; largely gone, too, are the softer textures and gothic ballads of albums past. The lone exception is the morbid masterpiece "Beyond the Realms of Death," on which the band finally finds a way to integrate the depressive balladry of songs like "Epitaph" and "Last Rose of Summer" into their metal side. Starting out with quiet, mournful verses, the song's chorus is ripped open by a blazing guitar riff as Rob Halford shrieks about leaving the world behind, a dramatic climax that sounds like a definite blueprint for Metallica's "Fade to Black." Yet it wasn't this song that inspired the ridiculous 1989-1990 court case involving the suicide pact of two Nevada teenagers; that honor goes to the Spooky Tooth cover "Better by You, Better Than Me" (penned by none other than the "Dream Weaver" himself, Gary Wright), on which the band allegedly embedded the subliminal backwards-recorded message "Do it." Astounding implausibility aside (as the band pointed out, why encourage the suicides of fans who spend money?), it isn't hard to see why Stained Class might invite such hysterical projections. On balance, it's the darkest lyrical work of the band's career, thematically obsessed with death, violence, and conquest. That's not to say it's always approving. Sure, there are battle cries like "White Heat, Red Hot," horrific nightmares like "Saints in Hell," and elements of the fantastic in the alien monsters of "Invader" and stone classic opener "Exciter." But the band stays philosophical just as often as not. The twisting, turning title track adopts the biblical view of man as a hopeless, fallen creature preyed upon by his baser instincts; "Savage" foreshadows Iron Maiden's "Run to the Hills" in depicting violent colonizers as the real savages; and closer "Heroes End" laments the many legends born from untimely deaths. So in the end, what really cements the celebrated morbidity of Stained Class is the sinister atmosphere created by the music itself. Never before had heavy metal sounded so viciously aggressive, and never before had that been combined with such impeccable chops. Seemingly at will, Tipton and Downing spit out brilliant riffs that cut with knife-like precision, usually several per song. This means that there's a lot to take in on Stained Class, but if there's nothing here as immediate as the band's later hits, there's also a tremendous amount that reveals itself only with repeated listens. While the album's overall complexity is unrivalled in the band's catalog, the songs still pack an enormous visceral impact; the tempos have often been jacked up to punk-level speed, and unlike albums past, there's no respite from the all-out adrenaline rush. Heavy metal had always dealt in extremes -- both sonically and emotionally -- but here was a fresh, vital new way to go about it. It's impossible to overstate the impact that Stained Class had on virtually all of the heavy metal that followed it, from the NWOBHM through thrash and speed metal onward, and it remains Judas Priest's greatest achievement." - All Music Guide
    $5.00
  • Magenta's latest is the follow up to Metamorphosis. According to band leader Rob Reed the writing/recording sessions developed material that caused a stylistic schism - of it was more "edgy" and contemporary while other tunes developed along a more traditional old school prog rock path. Chameleon represents the former. The music is more immediate and is missing a lot of the prog rock trappings. Perhaps closest would be Metamorphosis but frankly not quite as complex. It would be hard to classify an album with 7 and 9 minutes tracks as commercial but this is as close to that description as I think Magenta will ever come. Of course this is written from the perspective of someone that sits and listens to prog rock and metal 24/7. I'm sure the media will dub this as full on prog rock and I suppose at the end of the day it really is...its just that the ratio of prog to rock is a bit weighted more heavily on one side of the equation.
    $15.00
  • Released in the UK in December 1968, "Shine on Brightly” followed on from the huge international success in 1967 of the band’s debut single "A Whiter Shade of Pale” and the follow up single "Homburg” and built on the creative path begun on Procol Harum’s self-titled debut album issued in January 1968. Gary Brooker (voice, piano), Robin Trower (lead guitar), David Knights (bass guitar), B.J. Wilson (drums) and Matthew Fisher (Hammond organ) took the music of the band to new heights with this, their second album. Dominated by the 17-minute epic suite "In Held ‘Twas in I”, Procol Harum re-wrote the rule book of popular music with the material written and recorded for "Shine On Brightly”.Newly re-mastered from the original tapes, this 3 CD clamshell box Deluxe edition of "Shine on Brightly” has been expanded to include the 1968 Mono mix of the album (released on CD for the first time) and 20 bonus tracks (9 previously unreleased) drawn from studio sessions, single mixes and three BBC radio sessions recorded in 1968, featuring 9 previously unreleased recordings.This expanded deluxe edition also includes a lavishly illustrated booklet that fully restores the original album artwork and features a new essay by Procol Harum biographer Henry Scott-Irvine and also includes a poster.Disc One"SHINE ON BRIGHTLY”THE STEREO MIX REMASTERED1. QUITE RIGHTLY SO2. SHINE ON BRIGHTLY3. SKIP SOFTLY (MY MOONBEAMS)4. WISH ME WELL5. RAMBLING ON6. MAGDALENE (MY REGAL ZONOPHONE)7. IN HELD TWAS IN I    a. GLIMSPES OF NIRVANA8. IN HELD TWAS IN I    b. TWAS TEA TIME AT THE CIRCUS9. IN HELD TWAS IN I    c. IN THE AUTUMN OF MY MADNESS10. IN HELD TWAS IN I     d. LOOK TO YOUR SOUL11. IN HELD TWAS IN I     e. GRAND FINALEBONUS TRACKS12. IL TUO DIAMANTE ("SHINE ON BRIGHTLY” ITALIAN VERSION) (MONO)RECORDED IN SEPTEMBER 196713. QUITE RIGHTLY SO14. IN THE WEE SMALL HOURS OF SIXPENCEA & B SIDES OF SINGLEDisc Two"SHINE ON BRIGHTLY”THE MONO MIX REMASTERED(PREVIOUSLY UNRELEASED ON CD)1. QUITE RIGHTLY SO2. SHINE ON BRIGHTLY3. SKIP SOFTLY (MY MOONBEAMS)4. WISH ME WELL5. RAMBLING ON6. MAGDALENE (MY REGAL ZONOPHONE)7. IN HELD TWAS IN I    a. GLIMSPES OF NIRVANA8. IN HELD TWAS IN I    b. TWAS TEA TIME AT THE CIRCUS9. IN HELD TWAS IN I    c. IN THE AUTUMN OF MY MADNESS10. IN HELD TWAS IN I     d. LOOK TO YOUR SOUL11. IN HELD TWAS IN I     e. GRAND FINALEDisc Three1. MONSIEUR ARMAND (MONO)2. SEEM TO HAVE THE BLUES (MOST ALL THE TIME) (MONO)3. MAGDELEINE (MY REGAL ZONOPHONE) (1967 MONO VERSION)4. SHINE ON BRIGHTLY (1967 MONO VERSION)5. IN THE WEE SMALL HOURS OF SIXPENCE (STEREO MIX)6. MONSIEUR ARMAND (STEREO BACKING TRACK)7. A ROBE OF SILK (STEREO BACKING TRACK)8. MCGREGOR9. THE GOSPEL ACCORDING TO… (WISH ME WELL)10. SKIP SOFTLY (MY MOONBEAMS)11. QUITE RIGHTLY SO12. RAMBLIN’ ON13. SHINE ON BRIGHTLYBBC RADIO ONE SESSION14th FEBRUARY 1968PREVIOUSLY UNRELEASED14. SKIP SOFTLY MY MOONBEAMS15. WISH ME WELL16. LONG GONE GEEK"TOP GEAR” BBC RADIO ONE SESSION 19th AUGUST 1968PREVIOUSLY UNRELEASED17. IN HELD ‘TWAS IN I (LOOK TO YOUR SOUL /FINALE)"TOP GEAR” BBC RADIO ONE SESSION 6th OCTOBER 1968PREVIOUSLY UNRELEASED 
    $33.00
  • Phenomenal new studio album from the "classic" lineup - the first one since Unfolded Like Staircase. What makes it the classic lineup? Guitarist Jon Preston Bouda has returned to the band. His intensity is the perfect complement for Matthew Parmenter's vocals. Where ULS used a lot of Mellotron, this album really gives more space to Bouda's guitar. Parmenter still sounds like a more melodic version of Peter Hammill, primarily in the way that they both use emphasis. I keep making mental references to "intense". Simply the best way to describe this album. If these guys would have recorded more often...they could have played on a bigger stage. Luckily what we have is great. High energy, thought provoking progressive rock. It really doesn't come any better than this. Highly recommended.
    $13.00
  • In recent times there has been very little new music coming from the Magma camp.  "Slag Tanz" is a new composition that the band has been performing and its finally been recorded in the studio.  Its got the classic Magma sound and if you are a zeuhl fan this is indispensable.Funny that their new label is referring to this as jazz metal.  Perhaps they should try a different marketing ploy."Powerful, hypnotic, unclassifiable, incomparables. MAGMA are in a class of their own. Finally, music to set the cat among the pigeons... Magma are the dynamite that will explode the conventions of a music scene that is becoming rather too self-satisfied with its own beauty... Magma are unlike anything that has gone before...So people were saying in 1970.In 2015, nearly half a century later, this is truer than ever and the new mini-album Slag Tanz (pronounced schlag tanz), this veritable symphony of jazz metal that has erupted from nowhere, radiates with all Magma s singular intensity!"Slünd AImëhntösz - Alerte ! (2:19)Slag (3:03)Dümb (2:57)Vers la nuit (3:30)Slünd BDümblaë - Le silence des mondes (2:58)Zü Zaïn ! (2:16)Slag Tanz (2:29)Wohldünt (1:23)Lyrics & Music : Christian VanderStella VANDER : voiceIsabelle FEUILLEBOIS : voiceHervé AKNIN : voiceBenoît ALZIARY : vibraphoneJames MAC GAW : guitarJérémie TERNOY : pianoPhilippe BUSSONNET : bassChristian VANDER : drums, piano, voice on "Wohldünt"Recorded and mixed between september 2013 and september 2014 at UZ Studio by Francis LINON
    $13.00
  • "Although Dennis De Young's concept about man being replaced by robots in the near future failed to get off the ground, Kilroy Was Here still harbored two of the band's best singles. "Don't Let It End" almost captures the same endearing qualities as their number one hit, "Babe," did four years earlier, peaking at number six, and the synthesized novelty of "Mr. Roboto" went all the way to number three, accompanied by a lively and rather extravagant Dennis De Young at the helm. It was the song's mechanically spoken chorus and slight disco beat that made it Styx's fifth Top Ten single up to that point, overshadowing the rest of the album's tracks. Pretentious, weakly composed, and rhythmically anemic, songs like "Cold War," "Heavy Metal Poisoning," and "Double Life" couldn't even keep the album's main idea interesting, solidifying the fact that Styx's forte was singles, not conceptual pieces. The saxophone playing from Steve Eison gathers some redemption, cropping up here and there, but even some decent guitar work from Shaw and Young can't save the rest of the album. Brought back to life in the late '90s in an automobile commercial, "Mr. Roboto" gained somewhat of a minor resurgence more than 15 years after its chart life." - Allmusic Guide
    $5.00
  • "This is my favorite album of 2014 so far! I've been a fan of the Swedish solo artist FreddeGredde's proggier compositions since his early YouTube releases, and while his debut album had some great material, there were also many uninteresting tracks that I wouldn't consider prog at all. This has certainly been adjusted with this second album, because what we get is only seven tracks, no fillers, and they are (almost) all very prog, very creative, and just a pleasure to listen to. I can hear similarities with Moon Safari, Frost*, A.C.T, IQ and early Dream Theater, but also classics like Gentle Giant and Genesis, and it all lands in something entirely unique.Songs by song:1. Welcome the Bright Skies A very welcoming opening track for sure! I notice many similarities between FreddeGredde's first album and this second one, and one is the structure and feel of the opening tracks. "Lonely Starlight" on the debut was full-on prog, but was still accessible and had a coherent flow throughout the track, and most of it was in a 13/8 time signature. All the different themes came back together at the end, making a very tight composition. This new opening track has a very similar structure, with a lot of different themes that flow together, mostly in 15/8 this time, and it's all tied together with the majestic "it all comes together" ending. Both albums have very strong openings, and I like them equally but in different ways. My rating: 5 stars2. The Autotelic Self This is the rocker of the album, the most "prog metal" one. But it's still warm and full of synths and layers, separating it from most other modern prog metal, which tends to feel generic and forgettable. But this one is far from that! Clocking in at a little more than 11 minutes, it goes through a wide range of moods and styles, from crazy instrumental sections reminiscent of Images & Words era Dream Theater, to beautiful piano and acoustic guitar breakdowns, to mandolin based "folk" sections. This track has it all, and it all flows extremely well! It might be the highlight track of the album. My rating: 5 stars3. Your Life After two mostly up-beat and intense tracks, this is a welcomed breather. Based on classical guitar and mandolin, it gives a folk/Irish vibe, with almost sing-along qualities, except that there is no repetitive chorus that sticks with you on a first listen. Despite its soft and accessible sound, there's some "prog" to be found here, with 5/4 and 7/4 time signatures and a longer solo section that's alternating between the guitar and the mandolin. The solos are accompanied by an increasingly powerful choir, which creates a pretty powerful climax considering the type of song it is. It's a little odd among the other tracks on the album, but on it's own, it's a pretty little track. My rating: 4 stars4. This Fragile Existence Is the title possibly a reference to "This Falling World" from his previous album? Musically, they have similarities as they both feature large contrasts and breakdowns, and swiftly go through several moods and ideas (maybe more so than usual, even by FreddeGredde's standards). The stand-out features of this track are the complex vocal harmonies, which at times remind me of Queen and other times of Gentle Giant. It's overall a very playful composition, and the adventurous nature of it always manages to make me smile. My rating: 5/5 stars5. The Tower This is the second calmer track of the album, and is more ambient and cinematic than anything he has done before. Starting with only piano and accompanying synth pads, it gives off a cold and wintery vibe, but as the song goes on, it slowly changes back and forth between positive and sad in a very tasteful way. It's prog and it's got the high amount of variation that FreddeGredde is known for, but it's more atmospheric and slower paced. The ending is just extremely beautiful, probably the highlight of the entire album. My rating: 5 stars6. Shining Another shorter song in-between the epics. It's probably the most pop on the album, with a very catchy chorus that you can sing along to even on the first listen. It's got some prog moments though, some interesting time signature changes, and a cute mandolin based bridge. A solid track, but one more for a casual audience rather than the hardcore prog fans. My rating: 3-4 stars7. Ocean Mind And finally, the 18 minute epic. This one is difficult to process, because there is so much going on, and though I love a majority of it, there are some sections that don't grab me entirely. The instrumental sections are the highlights for me, as they are VERY adventurous and crazy, going from jazzy sections to metal to I-can't-even-describe-it. Again, I think the closest resemblance is early Dream Theater. My rating: 4 starsAll in all, definitely warmly recommended to fans of prog!" - ProgArchives
    $14.00
  • Despite a fracture between Andy Powell and Martin Turner, Wishbone Ash carries on - now in two different iterations. I guess Andy Powell retained the rights to the pure Wishbone Ash name and he's helming the ship on this release. Its just what any Ash fan would want - blues driven prog from a twin axe attack. That's the Wishbone Ash signature sound and if you are a fan you won't be disappointed.
    $15.00
  • The revitalized Kayak continue on with a grandiose 2 CD rock opera written by Ton Scherpenzeel. If you liked the larger-than-life direction they took with Merlin then Nostradamus will blow you out of the water. This is epic symphonic rock in the vein of Ayreon's "Electric Castle" and Glass Hammer's "Lex Rex" with various singers portraying the roles of the different characters in the story of Nostradamus. Includes a 24 page booklet detailing the story and lyrics. Highly recommended to the symphonically inclined.
    $21.00
  • Limited tour edition of ex-Nevermore guitarist Jeff Loomis' second solo album comes with three bonus tracks. Loomis lays it down heavy and fast. Serious shred instrumentals with some cool guests - Marty Friedman, Tony MacAlpine, and Chris Poland. He does have two vocalists - Ihsahn and Christine Rhoads. Ihsahn needs no introduction. Christine Rhoads was unfamiliar to me. Turns out she is from Seattle and has appeared on some Nevermore albums in the past. She happens to have a great voice. Drums are handled by Soilwork's Dirk Verbeuren and bass ably covered by Shane Lentz.
    $10.00
  • Salvaged from the vaults of RCA Italy is this legendary prog album from Morgan Fisher and Co. Anyone who is a fan of British progressive rock must own this keyboard intensive masterpiece. New remastered edition gets the Mark Powell/Esoteric love. Essential.
    $17.00
  • “Crazy French phenomenon Christophe Godin applies his nothing short of bonkers rock guitar abilities to this ferocious yet tongue-in-cheek display of post-Vai/Zappa composition and musicianship. Jazzy it ain’t, but full of immense playing technique and cool tones it most definitely is. Be afraid.” – Guitarist Magazine Brutal Romance is the fifth release from this intense French instrumental trio. Through extensive gigging in the US, this Morglbl has developed an ever expanding fanbase addicted to their crazy blend of jazz and metal. The band consists of Christophe Godin (guitars), Ivan Rougny (bass), and Aurelian Ouzoulias. All three members of the band are known around the world not just from Morglbl but as clinicians as well. Morglbl injects a dose of tongue in cheek humor into jazz rock laced with crushing power chords. They have a strong cross over appeal between fans of progressive rock, fusion, and metal. Morglbl has performed at festivals alongside Liquid Tension Experiment and Umphrey’s McGee. They have most recently toured the US as co-headliners with Sweden’s Freak Kitchen. Fans of shred and fusion Gods like Allan Holdsworth, Steve Vai or Freak Kitchen’s Mattias Eklundh will find this essential.
    $13.00