Grace Under Pressure ($5 Special)

SKU: 314534634
Label:
Mercury
Category:
Progressive Rock
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Although it's a good album, Grace Under Pressure marks a change in the band's sound. It is a bit more synth laden, the tunes are a little short. Somewhere along the line they got it into their heads to become The Police. The similarities in sound are too scary.  Remastered edition.

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  • "For his first solo release since 2009s House of Insanity, Trans Siberian Orchestra/Savatage guitarist/vocalist/songwriter Chris Caffery has enlisted the help of virtuoso drummer Brian Tichy (Whitesnake, Billy Idol, Ozzy Osbourne) and keyboard player/composer Lonnie Park to create Your Heaven is Real, a 13 song collection of blistering heavy metal that not only continues to display his stellar guitar chops but also his continued confident & improving vocal ability and strong songwriting skills. Your Heaven Is Real was recorded, mixed and produced by Caffery at Face The Music Studios in New York with additional recording done by Lonnie Park at Ultimate Sound in Groton, NY and Brian Tichy's Big Timers Studio in Canyon Country, CA. Instantly memorable and catchy, Your Heaven is Real is immediately more appealing and accessible than its predecessor, filled with some of his heaviest as well as most commercial sounding material to date.The opening title track, a tale of a very true frightening situation experienced by the guitarist, kicks in with sledgehammer riffs and snarling vocals, a true headbanger's delight and easily one of the must hear songs on the album. "Arm And a Leg" is another dark, menacing slice of heavy metal, complete with Caffery's venomous 'Jon Oliva-meets-Alice Cooper-meets-Sebastian Bach' vocal delivery, which is then followed up by the instantly catchy, hook laden metal anthem "Just Fine", one of the most upbeat, fun songs he's ever recorded, complete with a killer chorus and great guitar solo. Things take a turn for the poignant & melancholy on the Savatage sounding "Why", a fabulous song with a great lyrical message and emotional vocals (some of Chris' best ever) to go along with many guitar and keyboard textures. Without a doubt it's another highlight of Your Heaven is Real, and pushes past the 7-minute length as the one of the albums two epics. "Damned If You Do, Dead If You Don't" is an upbeat schizoid heavy metal gem, complete with complex riffs and some futuristic, almost prog-rock styled synths, while the blazing instrumental "Hot Wheelz" (dedicated to a special someone perhaps?) is chock full of manic drumming from Tichy and plenty of Caffery's blazing guitar licks. "I Never Knew" is more of an atmospheric rocker thick with keyboards and layers of lush guitar work, providing the framework for Caffery to inject some heartfelt, hook laden vocal passages. It's a nice change of pace, and I'd love to hear more in this style from him.The back end of the CD is equally as strong, kicking off with the energetic riff monger "Sick and Tired", and continuing on with the mid paced, grinding "Death By Design", a doom laden piece that will instantly appeal to fans of vintage Savatage as well as Black Sabbath. After the brief but lovely guitar instrumental "2-26-15", Caffery unleashes "Too Soon To Be Too Late", a rampaging, addicting example of metal guitar firepower packed with catchy vocal hooks and irresistible melodies. This is one of those songs that if it existed in 1987 would have been a huge hit with teenage hard rock & heavy metal fans. The second of Your Heaven is Real's lengthy songs is "Over and Over", an emotional ballad that slowly builds to a powerful climax, again showcasing Caffery's confident vocals and featuring a sizzling guitar solo. This leads to the gorgeous "Come Home", a short keyboard/guitar/vocal piece that takes the album out on a tranquil note, again displaying the huge amount of variety that Caffery has included on this fine new release.I've been saying for years that Chris Caffery has yet to top his best solo release, which was his first in Faces, but I think, now a decade later, he's finally done it with Your Heaven is Real. Well rounded and showing off much of what makes Chris Caffery 'click', Your Heaven is Real permeates with positive energy, power, and majesty, obviously a very personal album for the artist but ultimately his most revealing. Well done." - Sea Of Tranquility
    $15.00
  • After their last performance at Nearfest Apocalypse, Anglagard's lineup went through a bit of an upheaval.  Luckily it didn't materially affect the band's sound.  Anglagard is still Anglagard.  Prog Pa Svenska is a 2CD set that documents the band's three day residence at Club Citta in Tokyo, Japan back in March 2013.  Material is drawn from all three studio albums.  The recording is beautiful and the performances are stellar.  What else do you need to know?  How about this review:"May 14th of this year will see the release of a new Änglagård live album: Prog på Svenska—Live in Japan. Some of you may have been lucky enough to have been following Änglagård from the very beginning, but if you’re anything like me, you came into the game when Änglagård’s small catalog of music was either out of print or near impossible to find without spending a fortune; that is, with the exception of one little disc which somehow was available when snagging a copy of albums like Epilogue seemed to be a Herculean feat. That album was Buried Alive, the live recording of Änglagård’s last show prior to their 1994 breakup. While the liner-notes of Buried Alive reveal a band that was not 100% satisfied, 20 years later with the release of Prog på Svenska—Live in Japan, Änglagård is back and going strong with a new live recording that is rich in dynamic and deep in maturity, a performance that I am confident that they are proud to immortalize for their fans.Prog på Svenska represents the first of three consecutive nights that the masters of dark Swedish prog delivered at Club Città in Japan alongside The Crimson ProjeKCt (featuring the legendary Adrian Belew and Tony Levin). For me personally this is a special album that transports me back to when I witnessed their unbelievable performance only three weeks later at Baja Prog. Among a plethora of canonized acts at the festival (such as Hackett, New Trolls, and Three Friends), Änglagård’s remarkable performance showed that they stand in no one’s shadow. While there’s nothing like being there in person, Prog på Svenska is about as good a live recording and performance as I’ve ever heard on disc. I certainly am jealous of the Japanese fans who got to see them three nights in a row last year.The live-set on this album shows a balanced representation of the old and the new, featuring two tracks from each studio release along with an unreleased intro track which I assume (and hope) will be on Änglagård’s next studio production. So that the anticipation doesn’t kill anyone, I’ll start right off with the new song: ”Introvertus Fugu Part 1.” Perhaps the first thing to know about this track is that it’s our first look into the composition of the new band featuring Linus Kåse and Erik Hammarström alongside Anna, Johan, and Tord. I can happily say that “Introvertus” shows a band that knows how to move forward without abandoning the distinctive identity that they are known for, a fact that strongly hints at a powerful album to come in the future. The opening moments of the song show the band increasingly incorporating elements of modern classical and atonal music through the delicately dark chord changes on the piano before constructing a wave of tension with ambient bass noise, a distinctive guitar motif,  and a descending melody on flute playing against tuned percussion. As the ambient textures continue to swell, a big percussive crash shockingly interjects, setting the stage for an ominous swelling of Mellotron chords, resulting in an eerily delightful sound. The intensity continues to build with a drum roll on snare and cymbals that transition the piece into an aggressive angular instrumental attack featuring howling Minimoog modulation; enter a fiercely dark melody which is doubled or harmonized on most instruments before the band takes the listener into their signature dose of woodsy folkiness. Johan and Linus continue pounding in the rhythm section before the eerie central motif returns to bring “Introvertus” towards its close with the full force of Anna and Linus’ dueling woodwinds, one hanging on the melody while the other produces chaotic squeals before withering off the melody in a very unsettling (but cool) way.After kicking it off with an exciting intro the band takes us back 20 years with “Hostsejd.” The rich dynamics, especially the meticulously controlled Mellotron swells, really shine on this one while some small differences in instrumentation (such as the sax on the first main melody instead of flute) really keep the piece fresh and exciting. Although I was craving the intro on the follow up track, “Längtans Klocka,” the supreme level of interplay between all instruments that starts off the piece is fantastic. Furthermore, the guitar/Mellotron duet at about 6:30 that leads into a memorable theme is quite the highlight. Finally, the circus-y melody towards the end of the song somehow becomes even more diabolic in this slightly stripped down version as Tord’s demented waltzy riff serves as a perfect backdrop for the drunken saxes. Speaking of Tord, it certainly is nice to see him back in the band, and I must add that his guitar playing and sense of emotion is perfect for the band and has improved over the years. This is perhaps most clearly demonstrated on “Jordrök,” a quintessential song in Änglagård’s catalog. The reality of the matter is that despite the fact that the band was quite mature at the time of Hybris‘ release, their capacity to bring out all the nuances in pieces like this shows that they are musicians who have truly refined their craft over the years. “Jordrök” sounds more alive than ever; the Mellotron flute section in the middle, one of the band’s absolute trademark melodies, is to die for, and Linus’ superb use of phrasing and pacing in the piano intro certainly takes this classic piece up several notches.Moving deeper into the performance we see “Sorgmantel,” one of my personal favorites from Viljans Öga. The first thing I noticed about this particular performance is that the intro sounds much more raw due to differences in instrumentation, this version starting out with a guitar and bass call and response. While I absolutely adore the studio version, this new arrangement and performance was also wonderful and brought its own set of advantages to the table. First, the bass/guitar duet at the beginning really exposes the melody and shows you that its not just about fancy instrumentation, it’s a gorgeous melody through and through. Second, the band is not concerned in the least bit with rushing through the performance of this piece; the pacing is delicate, precise, and emotional with plenty of space for ritard and sway as the intro melody gets passed around from guitar to bass and flute and is then countered by the piano, making the fugue-nature of this piece even more evident. The playing is incredibly tight but busting with dynamic throughout as “Sorgmantel” takes its many twists and turns before working its way to a quiet ending; graceful… even breathtaking.To wrap up the night, Änglagård once again goes back to the early 90′s, this time with “Kung Bore” and “Sista Somrar.” Although the former leans more on the folky side of the band, as does much of their first album, the highlight of the piece actually ended up being the mysterious and ambient middle section where the band shows that they have mastered perhaps one of the most difficult aspects of music: playing quietly with vibrant emotion. Between the light swells of guitar, weird effects on bass, a steady organ pattern in the upper register, and a lightly beating drum, this section goes beyond merely doing justice to the original. Finally, the depth and emotion of “Sista Somrar’s” slow, dark intro is, quite frankly, deadly, and goes miles deeper than the original studio recording (which was in and of itself very impressive) as an ominous sax melody flanked by stormy percussion and effects guides us to the unleashing of an uncanny tron female solo voice that will haunt your nightmares for weeks to come.In my opinion, Prog på Svenska—Live in Japan is an essential live album that you don’t want to miss out on. Quite honestly, I am a person who rarely enjoys live albums because oftentimes the performances and production are either significantly worse than the studio recording, or the live version ends up being stripped down to the point where there’s just something missing, or the band simply doesn’t offer an experience which is significant enough to enjoy the live version deeply; in most cases you sort of ‘had to have been there’ to get what’s so great about it. Such is not the case with Änglagård’s latest live documentation. From the performances to the production and the differences in detail from the originals, Prog på Svenska is a stellar capturing of live art through and through. And of course, I might add that if you ever get the chance to see Änglagård perform, take the opportunity; if your significant other isn’t a prog fan, take them anyways. Änglagård’s extreme level of delicacy in phrasing and dynamic is a tough match to beat in progressive music and should hold up even in the face of the snootiest of music connoisseurs." - Progulator
    $25.00
  • "By 1977 Journey had reached a creative crossroads, with three underwhelming studio albums under their belt and little to show in the way of commercial success. At the prodding of manager Herbie Herbert, who felt a major shakeup was needed in order to reignite their spark, the band was convinced to audition and eventually recruit the services of former Alien Project vocalist Steve Perry. Sure enough, adding him to the band just prior to the sessions for Infinity proved to be a stroke of genius, and a move that undeniably altered the course of history for the fledging Bay Area act. Released in January of 1978, Infinity easily proved to be the band's most cohesive work to date. Dead and buried were the jazz fusion overtones of previous offerings, and with the new songwriting combo of Perry/Neal Schon leading the march, the band set out to completely redefine their sound. Traditional pop arrangements were now adopted, cutting out the unnecessary musical fat, and allowing each bandmember to play to his strength: Perry's soaring, whale of a voice, Schon's scorching fret work, and Gregg Rolie's subtle keyboard arrangements. Enlisting eccentric producer Roy Thomas Baker (already famous for guiding the likes of Queen and Nazareth to giant commercial triumphs of their own) also proved to be a rewarding move for the boys. With newfound confidence, Journey crafted a record that could finally land them on the radio. Loaded with future FM staples like "Wheel in the Sky" (which hit the Top 50 in April of 1978), "Lights" (which quietly peaked at number 68 that August), and "Anytime" (pretty much a flop, crawling to number 83 in July), Infinity introduced Journey to an entirely new audience. Even non-singles like "Patiently (the first tune Perry ever wrote with Schon) and "Somethin' to Hide" were leaps and bounds beyond the band's previous accomplishments. And, ultimately, though Infinity merely introduced the band to mainstream radio (it was the never-ending tour on which the band embarked on to support it that drove the disc past the platinum plateau), it effectively cemented their rep as one of America's most beloved (and sometimes hated) commercial rock/pop bands. With over 170 shows under their belts, Journey had just begin to hit their stride." - All Music Guide
    $5.00
  • German edition (with Taiwanese OBI) of the band's latest album. Supreme symphonic gothic metal.
    $13.00
  • "This double album is a great testament to all the musical journeys and experiences that Nolan and Swita enjoyed as they spread the word about ‘She’ with their many ‘two-man’ shows. ‘Journey’s End’ features over 130 minutes of acoustic live performances from around the world, as well as a selection of never before heard demos, bonus tracks and interview footage. These live tracks also feature some great guest appearances: familiar ‘She’ faces such as Mark Westwood (guitar) and Christina Booth (voice), as well as new friends like Claudio Momberg from ‘SETI’ (keyboards) in Chile and Sebastian Medina from ‘William Gray’ (guitar) in Argentina."
    $20.00
  • "Abnormal Thoughts Patterns is a new technical metal trio that comes onto the scene equipped with twenty-plus years of experience. Featuring Mike Guy on drums and twins Jasun and Troy Tipton on guitar and bass respectively, ATP is perhaps better known as the musical backbone of underrated prog metal purveyors Zero Hour. Apt comparisons between the Californian three-piece and acts such as Death and Animals as Leaders have been made, but when Abnormal Thought Patterns are at their most frenetic, they also share Blotted Science's aptitude for conjuring up aural insect swarms. Some of this stuff is guaranteed to make listeners' heads spin.Manipulation Through Anesthesia is ATP's debut full-length release, and it gets off to an excellent start, extending on the saga of the very first tracks they wrote, "Velocity and Acceleration" parts 1-4. These songs, numbered from 5 to 8, flow together as one connected work, clearly taking place in the same universe and containing shared motifs. It's 13 minutes of some of the finest instrumental metal out there. The album then takes a left turn in the form of "Calculating Patterns", a pleasant, jazzy cooldown. It is the first of several mellow tunes that demonstrate Abnormal Thought Patterns' diversity."Harmonic Oscillators", the album's most challenging cut in more ways than one, is also worth a mention. Here, the guys in Abnormal Thought Patterns lose themselves in mathemathics for the first and only time on the album. It's the type of song to make aspiring musicians seethe with envy and set their instrument of choice on fire, being a technical tour de force full of mindboggling time signatures and incredibly dexterous playing. It's also, again with the maths, the only 7+-minute song on an album where the average one clocks in at 4 minutes, and without changing the formular around much. For many, this all-out assault will no doubt be considered the highlight of the album. For others, it'll be a bit too much of a good thing.Speaking of the formular, ATP seems to have carved out a more than solid niche for itself already. Though the notes-per-minute count is oftentimes off the charts on Manipulation Under Anesthesia, the majority of its content manages to stay quite musical. The main event of their faster songs tend to be a heavy, hypnotic, repeated guitar riff, assisted by the always-very-audible bass humming surprisingly melodic tunes while the drums keep everything in place, usually prioritizing cymbal and snare patterns over flashy tom fills. On that note, the album is in no way lacking in heaviness or rhythmic depth despite foregoing the use of double kick drums. Quite an unusual feat in the shred-based instrumental metal environment.For anyone familiar with Zero Hour, it should come as no surprise that ATP succeeds in shredding with style. But there's a lot more to them than that. Abnormal Thought Patterns keep an excellent balance between all three instruments (which are occasionally joined by some light synth accompaniment), making sure there's always something worthwhile happening on several fronts, and they're able to impress even when venturing out of their comfort zone. Manipulation Through Anesthesia does lose a bit of steam towards the end, but is nonetheless an impressive album and a very promising debut." - Metal Revolution
    $14.00
  • Latest and best blend of gothic and prog elements.
    $10.00
  • Great debut from this new Italian quintet.  Pure retro prog that channels the spirit of early 70s British prog.  The band's sound is dominated by organ and heavily spiced up with guitar and flute leads.  Hugh Banton or Tony Banks' roadie must have helped set up Paolo Tognazzi's organ because it seems like its ripped right out of 1971.  Vocals are in English and while Andrea Calzoni's accent creeps in now and then he aquits himself quite well - he's got a bit of an Ian Anderson thing going on.  Nice long instrumental breaks with keys playing off the flute and guitar.  Definitely a VDGG - Osanna - PFM - Orme vibe, but keep in mind the early versions of these bands.  1971 vs 1975.  This is the good stuff.  The REALLY good stuff.
    $16.00
  • Official (?) release of a live performance that has been circulating among tape traders for decades.  This was a live in the studio performance recorded for the BBC in 1973 in front of an invited audience.  Its a classic gig that features Wishbone Ash's Andy Powell on Ashes Are Burning along with Al Stewart.
    $14.00
  • Fifth album from this German instrumental psych/stoner band is a real mind crusher.  You like My Brother The Wind?  You need to hear this.  If Samsara Blues Experiment recorded an instrumental album it might sound something like this.  The album is interspersed with quieter introspective interludes that just seem to made the heavier parts heavier and the spacier parts trippier.  If you like your psych served up hard you can't pass it up.  Devastating stuff.  BUY OR DIE!BTW - the angry metal guy tells it way better than I can:"It was difficult for me to turn down a promo so intertwined with one of the subjects of my recently-completed dissertation. Aldous Huxley‘s migration to Eastern philosophy, influenced by both Taoism and Buddhism, is well documented in his final novel, Island. The inhabitants of the idyllic island practice such spiritual, philosophical models, culminating in the consumption of so-called “Moksha-medicine,” a hallucinogen which permits heightened awareness and understanding. The band which explores similarly Zen and reflective topics is one to catch my eye and I excitedly embarked on this quest for internal liberation.Moksha is the fifth full-length by Germany’s My Sleeping Karma, succeeding their previous release Soma (also a reference to Eastern spirituality and prominently interpreted in Huxley’s Brave New World). It accordingly incorporates Eastern instrumentation in a groovy, psychedelic exploration of exactly how mellow one can be while the music can still be interpreted as metal. Though it could be described as relaxing mood music, the distorted guitars and surprising technical proficiency of the band grounds Moksha in the space between rock and metal (and also qualifies it for AMG, you goddamned haters).If Kraut or psychedelic rock is your jam then you will assuredly find plenty to enjoy here. The minimalist approach with sparingly-used instruments and catchy but repetitive leads will worm its way into your skull. There aren’t multiple riffs throughout each song; rather, a core motif which gradually progresses and develops throughout, lending a charming coherency to the album – see opener “Prithvi” for this. Occasional synths and piano keys afford an ethereal air too. However, it’s the points at which more overt Eastern instrumentation is used that the material really stands out. The five “Interlude”s which split each of the main songs strongly evoke My Brother The Wind, with groovy bass-lines and the interesting use of monk’s chants and hand-operated drums. The album’s concept is thus drawn into the music and it creates a quite captivating effect. The sudden and disturbing emanation of pop shite from one of my housemates’s bedrooms drew me from my trance and alerted me to how involving the material is.Despite the repetitive and seemingly improvised nature of the music, its technicality is another boon. As the songs progress and layer, the guitars and drums can become quite intense despite the over-arching serenity (I’m aware this sounds like a contradiction but it’s a testament to the subtle song-writing). The nifty transition at 2:30 of “Akasha” foregrounds a sound very similar to mid-era Anathema, and the transition at 4:00 demonstrates the talent of the bassist and drummer, leading into an appropriately-climatic harmony. This is just one song, but jazzy drum fills and strong bass work permeate the entirety of the release. The Floydian jam on “Interlude 5” is compelling too.I would argue that Moksha effectively achieves its goal and nails the style it strives for. However, I do feel that it may be too niche for some listeners – it’s easy for me to concertedly listen for the technical accomplishments as a reviewer, but the music can slip to the background into the realms of mood music. Though a pleasant listen it may be, one could argue it’s a little safe and it certainly doesn’t arouse my passions sufficiently to push my score to excellent. Furthermore, each of the main tracks can sound quite similar if not explicitly listening – that said, the interludes split up the record nicely so this effect is mitigated. I’m also part of the niche rock and metal market that appreciates the spiritual subject matter, if only on an academic level.Turning my gaze to the empirical and away from the spiritual, the solid dynamics certainly aid affairs. The principle tracks hit a DR score of 8, with the “Interlude”s varying between 10 and 14. There is good breathing room for each instrument and each is clean without being over-produced. A holistic sound is achieved which envelops the listener well.I imagine there is quite a specific demographic that this music hits so it may not be for everyone, but I’m enjoying my journey to the geographic heights of Nepal, the enigmatic Sadhus of India and through the tenets of Yin Yang. The ultimate dearth of diversity and Moksha‘s intrinsic tranquility limits my true passion for the record, but it’s a worthwhile investment nonetheless. Aldous would be proud." - The Angry Metal Guy
    $13.00
  • "Dimension is a progressive metal band, based in Denver, CO, USA. It was founded in 1999 by David Quicho (guitars and vocals) & Mane Cabrales (drums) . They play a heavy yet melodic brand of progressive metal, and Revolution is a double disc with over 90 minutes of music.With The Source, it begins with a haunting piano, with Quicho's vocals coming in shortly after. His vocals use an almost phaser like effect, which can sound a little weird to someone not used to it. Though soon afterwards he shows his strong vocal range. Ranging from a John Arch(ex-Fates Warning) Or Charlie Dominici(ex-Dream Theater, Dominici) high to a more aggressive mid range, ala Harry Conklin(ex-Jag Panzer). The next two songs offer something a little bit different, with a huge melodic chorus during Pale Horse that showcases some great drumming from Cabrales and vocals from Quicho. With a little title like The Waltz Of Death you might expect a symphonic intro, and it does, with a waltz to boot! After that intro, the song is a big melodic song with some nice guitar solos, and tempo changes as well. New Day is a haunting slower melodic song, that really highlights Quicho song. This song you will either love or hate his vocals, but the vocal melody matches the song perfectly. Some great instrumentation as well mid song, and an added heaviness heard midway adds a dynamic to the song. Tears of Blood and The Resistance are two mid to faster paced songs, with the latter having a great straight-ahead guitar riff, that easily induces headbanging. The added keyboards in the beginning of The Resistance definitely gives the song a progressive feel to it. Some great drumming, with certain notes being accented more than others, gives the song an aggressive feeling, though the song itself is very melodic. Welcome To America is a song you will want to listen to the lyrics for, especially if you live in America. The last song on disc one is a cover of The Beatles classic, Eleanor Rigby. While this song has been covered numerous times, I really did enjoy this progressive metal take on it. At just barely over two minutes long, it definitely is short and sweet.Angel starts off disc two, and much like what was heard on disc one is a mixture of heavier parts and melodic parts lead by Quicho's unique vocals. The song has a great instrumental section just after the three minute mark. The next song Human Device shares a lot of the same ideas presented in Angel without sounding like the same song. The instrumental, The End Of All Things is next, and it takes its time building up into one massive piece of precise musicianship. Unlike a lot of their contemporaries, Dimension does not over do it with the instrumentation. Yes there is definite technical skill from all three members, but they don't stray too far away into wankery-land where the song ends up sounding like one long jam section. There is definitely a well thought out song structure here. The epic not only in length, but in melodies, time signatures, and everything else you would expect from a solid progressive metal band, can be found in the nineteen minute plus, War Dream. A heavily melodic song with great instrumental passages, weaves back and forth between melody, technical prowess, and heavier parts of the song. I could write a review about this one song. Much like Eleanor Rigby ended the first disc, the classic Led Zeppelin, Immigrant Song ends disc two. Maintaining the Page riff, and the Plant vocal melodies, the song does not stray too far from its source material, but has a personal and welcomed Dimension touch to it.Reviewing a double disc from a band I don't know, has been daunting, but definitely a welcomed challenge. I researched the band's previous releases to find that Marty on this site had reviewed their 2007 disc, Ego. From the samples of Ego I have heard, I honestly believe the band has taken the next step in their evolution. Dimension is definitely a solid band, and one that should be on the radar for fans of the genre. Most songs have complex song structures, yet are accessible to those who enjoy melodic music as well." - Metal Reviews
    $14.00
  • Let me preface my observations of the CTTE remix by saying that I don’t put these classic albums on a pedestal.  If they can be sonically improved while remaining faithful to the original mix and maintaining musicality and the emotional content then I’m all for it.  In general I liked what Steven Wilson did with the King Crimson catalog.  I was particularly impressed by his reconstruction and resurrection of Lizard.  When I heard he was tackling the Yes catalog I was hopeful because if there was ever a band that could use some sonic wizardry its Yes.  Eddy Offord was never able to bring the magic to their mixes that he was able to give to ELP.So how did Steven Wilson do with CTTE?  I can only use one word to describe the new mix: “transformative”.  CTTE was an album cobbled together from various bits and pieces.  Its widely acknowledged to be the band’s best album (its certainly my opinion) but in terms of sonics it fell victim to the “too many cooks” syndrome.  The original mix was a bit of a mess.  Its all changed now.The one thing that is immediately apparent is the foundation provided by Chris Squire’s bass.  It reaches the pits of hell and if Mr. Wilson is going to take this approach with TFTO and Relayer he’s got my vote.  In general there is a veil of schmutz that has been wiped away.  All the instruments have more clarity and focus in the soundstage.  “I Get Up I Get Down” was chilling.  I found the soundstage consistently extended beyond the boundaries of my speakers.  The mix is warm, involving and there is a balance among the instruments that I found lacking in the original mix - primarily because of Squire’s bass being given a shot of adrenaline.  Jaw dropping stuff.  The bonus track of “America” had exceptional, dare I say audiophile sound.So the obvious question is - what sounds better - this mix or the SACD?  I dunno.  I can’t find my bloody SACD to compare…but here is my memory of the SACD.  When I got it I played it through.  It didn’t overwhelm me or disappoint me.  My thought was “its fine...it is what it is - this is the best it will ever sound in the digital domain”.  I was wrong.  BUY OR DIE!  FORMAT: 1 x CD/1 x Blu-RayCD:1  Close to the Edge2  And You And I3  Siberian KhatruBonus Tracks:4  America5  Close to the EdgeBlu-Ray:Presented in DTS-HD Master Audio– Album mixed in 5.1 Surround– New Album mix– Original Album  mix (flat transfer)– New Album mix (instrumental version)– America original, new & instrumental stereo mixes & 5.1 Surround + further audio extras some exclusive to Blu-Ray edition• Close to the Edge is the first in a series of remixed & expanded Yes Classics• The classic album has been mixed for 5.1 Surround Sound from the original studio masters by Steven Wilson (Porcupine Tree) & is fully approved by Yes.• CD features a completely new stereo album mix by Steven Wilson• CD also features a new mix of America• CD also features an early mix/assembly of Close to the Edge• Blu-Ray features 5.1 DTS-HD Master Audio Surround (24bit/96khz) mixed from the original multi-channel recordings.• Blu-Ray features the new stereo album mix in DTS-HD Master Audio (24bit/96khz).• Blu-Ray also features the original album mix & America in a DTS-HD Master Audio flat transfers from the original master tape source. (24bit/192khz)• Blu-Ray exclusively features instrumental versions of all new mixes in DTS-HD Master Audio stereo (24bit/96khz).• Blu-Ray also exclusively features a needle-drop of an original UK vinyl A1/B1 pressing transferred in 24bit/96khz audio.• Numerous audio extras appear in high-resolution stereo including single edits & studio run throughs of album tracks• Original artwork by Roger Dean who has also overseen the artwork for this new edition• Presented as a mini vinyl replica gatefold card sleeve with booklet containing new sleeve notes, rare photos & archive material.“Close to the Edge” is the first in a series of expanded Yes editions including 5.1 Surround mixes, new stereo mixes & High-Resolution stereo mixes of the original music along with a wealth of extra material. Acclaimed musician/producer Steven Wilson has produced the new mixes with the approval of the band, while Roger Dean reprises his role as art director/designer of the newly issued edition, making this the definitive edition of the album.When Yes entered the studio with Eddie Offord to record the band’s fifth studio album in mid-1972, their second with this line-up, the band was on something of a roll. “Fragile”, the band’s previous album, had taken Yes to a new level of international popularity with Top Ten chart placement on both sides of the Atlantic & yielding a hit single in the USA with ‘Roundabout’. The band was now established in the major music markets to an extent that was, perhaps, unexpected given the complexity of the music Yes performed. But with that popularity came a confidence that the expansive material of the two previous albums could be taken a stage further with the new recording. Rather than consolidating, Yes chose to innovate.Recorded during lengthy sessions at London’s Advision Studios, “Close to the Edge” is that rarity in recorded music, the sound of a band & its individual members writing, playing and recording at the peak of their collective abilities. The album was issued in Autumn 1972 reaching chart highs & platinum sales status of  4 in the UK, 3 in the USA & 1 in Holland, though such statistics only hint at the worldwide popularity of the album over a period of more than four decades. The three pieces of music, the title track which spanned the entire first side of the vinyl album with ‘And You And I’ & ‘Siberian Khatru’ on side two, have remained concert favourites since release, with the 2013 Yes line-up currently in the middle of a world tour stretching into the middle of next year that sees the album performed in its entirety.The album remains the favourite among many of the band’s legion of fans, a defining recording both for the band & for the progressive rock movement. It is also one of the most successful British rock albums ever released.Since this release of “Close to the Edge” was confirmed, the various websites dedicated to Yes, Progressive rock & high-resolution audio have been very active with discussions among fans keen to hear the new mixes & the existing material in its purest audio presentation. 
    $21.00
  • New reissue of the band's 1994 release features two new acoustic tracks from Jon Oliva.
    $14.00
  • BluRay containing a full live footage (filmed in Cologne), “Behind The Scenes” of the Kaldeidoscope World Tour 2014, band interviews and 3 further live tracks (filmed in Tilburg)Tracklisting BluRay: Live in CologneInto The Blue (26:12)My New World (17:29)Shine (07:22)The Whirlwind Medley (29:34)Beyond The Sun (04:24)Kaleidoscope (31:30)Neal & Roine Duet (03:41)We All Need Some Light (05:56)Black As The Sky (08:43)Encore:Medley: All Of The Above / Stranger In Your Soul (26:06)Bonus Material:(A behind the scenes look at: Kaleidoscope World Tour 2014)2. Band Interviews (22:31)3. Bonus Live Performances:3.1. Nights In White Satin (Live in Tilburg) (07:46)3.2. Sylvia (with Thijs van Leer - Live in Tilburg) (03:46)3.3. Hocus Pocus (with Thijs van Leer - Live in Tilburg) (07:53)Additional extra: Mike Portnoy vs Neal Morse in "Name That Beatles Tune"
    $16.00