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Handful Of Rain (Digipak)

SKU: 0207294ERE
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Ear Music
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New reissue of the band's 1994 release features two new acoustic tracks from Jon Oliva.

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  • Released by Camel some years ago, this is a wonderful archival live set from 1972. Four tracks: "Lady Fantasy", "White Rider", "Six Ate", and the incredible "God Of Light".
    $15.00
  • Innovative Danish band who's style of metal is tough to pinpoint. The music has technicality to it and is definitely progressive but there are other elements at play...thrash and industrial as well. It's sort of a cross between Meshuggah and Fear Factory. The vocals are a predominantly coarse but there is no deep growling going on.
    $10.00
  • 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
  • Red type on black shirt. Front text is simply DSO and the back reads:DIABLO SWING ORCHESTRA No 2 SING ALONG SONGS FOR THE DAMNED & DELIRIOUS(same as the album cover)At the moment only Men's shirts are availabe. Women's shirts coming in shortly.
    $20.00
  • "It is summer and it's hot in California. For the recording musician it means that air conditioners are causing problems and are generally too loud. So, the musician can either sit on their ass and do nothing or simply switch gears and record an album with sounds that are louder than the air conditioners. This is what Henning Pauly decided to do when he realized that moving on to his rock-opera "Babysteps" was not possible right now. He called up the singer of the new band of his bandmates from Chain, Transmission, in Germany and asked if he was available. Juan Roos immediately said yes to the project, but he only had a two week window and it was two weeks from that phone call. Henning loves deadlines and so he started writing to have the album written and recorded, minus vocals, within two weeks.Henning describes Juan's voice as a perfect blend between Geoff Tate and David Coverdale: "Juan can give you the high stuff, but he can also be really raspy and rocky...his voice just kicks you square in the nuts!"Because of the very limited time frame for the conception and production of "Credit where credit is due" Henning asked his proven writing team to join in when it comes to lyrics and melodies, so Matt Cash is on board again, as are Edward Heppenstall and Jason McSheehy. Several songs on the album loosely deal with the world of rockstars, scandals and getting credit for what one has done. No need, really, to point out here that everyone involved will get credit where credit is due.The music is loud, heavy and realism has been shoved behind production value on the list of priorities. Heavy Industrial Drum sounds are interspersed with acoustic sets. The banjo finds its way into metal again and sometimes you can draw clear parallels to the work of Trent Reznor and Marylin Manson. There's more to it than just that, but the production is clearly more modern than anything Henning is done so far.This CD was about having fun with music and production and it gives Henning a chance to be back in the studio and have fun doing what he loves the most...making music, not talking about it."
    $3.00
  • 150 minute NTSC DVD from these German power metal icons. Featured performances include Wacken 2001 and from their Black Sun tour in 2002. There are video clips, stuff from Wacken 1999 as well as "bootleg" footage from various tours going back to 1998. The set includes a bonus CD called "Official Live Bootleg - Live In Wacken".
    $18.00
  • "This is not a new Lost Horizon record.There, we got that sorted out. The good news is that Daniel Heiman is finally back where he belongs: in metal. For its third outing, Harmony tapped this fan-favorite singer, but unlike recent, however successful, hijack jobs (think Michele Luppi with Secret Sphere, or further back, Urban Breed with Bloodbound), this is still one hundred percent a Swedish, religious power metal experience.After a promising start with Dreaming Awake, and a superior sophomore effort in Chapter II: The Aftermath, Chapter III at last gives us the Harmony record that I always knew the Swedes had in them. Retaining the band’s signature solemn style and subtle sense of melody, Theatre Of Redemption is bigger, better, and an overall top contender for 2014’s album of the year.Just how much has this to do with Heiman himself? Of course, hiring a man of his not inconsiderable talent is certain to lend your work that extra flavor. This isn’t to say that Henrik Båth held the band back (about as much as Mikael Dahl did/does in Crystal Eyes), but that Heiman touch is fan-favorite for a reason. The superhuman wails, the natural emotion, the unrivaled raw power, all of that bigger and better than before as well. In whatever dark corner of the music industry this man has been lurking in for all these years, he’s picked up a thing or two. A tender and soulful performance like the one on “What If” could simply not have come from him in his Lost Horizon-days. Goosebumps, ladies and gentlemen, entire flocks of geese.Logically, even Daniel freakin’ Heiman can only thrive when the songwriting is there to support him. Harmony stepped up its game considerably in this department, opting for shorter, tighter material here. Theatre Of Redemption is trademarked by sharp and poignant riffs, simple but gripping melodies, and an overdose of class. “Son Of The Morning” and the title track sound like the basic but effective kind of songs that Kamelot used to churn out in its heyday, boasting oriental effects, a mystic atmosphere, and an ominous chorus. “I gave it aaall – for – NOTHING!” More geese and whatnot.Not all of it is down and plodding, though. Introspective opener “Window Of My Soul”, the celebratory “Crown Me King”, and self-referencing closer “In Search Of” root Harmony firmly in the national style. Anyone attempting to chronicle the rich history of Swedish power metal should do well to include them. For filler tracks, to conclude, look further, because Harmony wastes no time making every single song one worthy of remembrance and appreciation.This is not a Lost Horizon record. Instead it’s the best album Harmony has ever released, and one of the best this year has seen so far. Daniel Heiman returns gloriously to be crowned as king (only to disappear, as he’s only a guest on this album), and aids Harmony in releasing its full potential. Fans of Heiman, Harmony, and (Swedish) power metal in general should purchase this blindly." - Black Wind Metal
    $10.00
  • "'Hand. Cannot. Erase.' is the highly anticipated fourth studio album from Steven Wilson - four-time Grammy nominee and founder member of cult legends, Porcupine Tree.Hand. Cannot. Erase. follows the critical and commercial success of The Raven That Refused To Sing, released in February 2013, and a run of sold-out shows around the world including London's Royal Albert Hall. Steven will embark on an extensive 'An Evening With Steven Wilson' European tour in March & April 2015.Recorded at London's illustrious Air Studios, Hand. Cannot. Erase, reunited Steven with Guthrie Govan (guitar), Adam Holzman (keyboards), Nick Beggs (bass / stick), and Marco Minneman (drums), the spectacular band responsible for The Raven That Refused To Sing album and world tour.The album follows the critical and commercial success of 2013's 'The Raven That Refused To Sing' (Germany #3, UK# 28) and an international run of sold-out shows, including London's prestigious Royal Albert Hall.Joined by Guthrie Govan (guitar), Adam Holzman (keyboards), Nick Beggs (bass / stick), and Marco Minneman (drums) - all part of the world-class band that graced The Raven and the 2013/2014 world tours - Wilson recorded 'Hand. Cannot. Erase.' at the renowned Air Studios in London."
    $15.00
  • "Alternative Rock is not a genre that graces my ears very often, but as always, they are open; as is my mind. The funny thing is, any time I am exposed to something I wouldn't normally find myself listening to, there is always something about that band that has my wanting attention for one reason or another, be it the sound of the vocalist, the mixing, or those infectious hooks in the chorus. For its genre, the ANNEKE VAN GIERSBERGEN (formerly AGUA DE ANNIQUE) is perfectly postulated and is a leading act, with their non-repetitive writing (something I hear too often in commercial rock), excellent vocals and songs leaving you burning with an urge to sing along.Their latest release, "Drive", is no exception; as an album, it proves to be versatile, with no two songs sounding identical, but every song keeping the rhythm and mood to make the album fit piece by piece. "We Live On" feels like a typical pop-rock track, upbeat and driving, with an extremely powerful vocal performance in the choruses by Van Giersbergen. "Treat Me Like A Lady" does not want to be treated like a lady, and takes a noticeably heavier tone, brimming with attitude. "She" begins ever so modestly, making us think we're brought back to some level of calm, but explodes into an incredibly fast-paced chorus for such a Rock band, and includes yet another infectious chorus; something that is fast becoming an obvious highlight. "Drive" – I adore the sound of the bass in this song, the way it is dislocated from the drums, adds another dynamic. Van Giersbergen's even more stellar performance in the chorus demonstrates her large vocal range and versatility. Save for electric bass, "My Mother Said" is an entirely acoustic song and is the softest, most heartfelt song on the album; the band's namesake flawlessly demonstrates her ability to fit her voice around any song to emote any mood wants. "Forgive Me" is especially different, demonstrating unusual chord progressions, totally different instrumentation, and revealing even more, the extent of control that Van Giersbergen has over her range. "You Will Never Change" is upbeat and punchy, through-and-through with an – okay, let us just assume that every song on this album has an infectious chorus; definitely one of my favorites on the album. "Mental Jungle" begins with a strange, Arabic-sounding vocal melody, also featured on the chorus; I do indeed also love this chorus, as well as the interesting chord progressions. Quite easily the most unique song on the album, it strays from the pipeline rock sound that this record has been purveying. "Shooting for the Stars" takes the cake for the 'radiorock' track on the album, where every note, every beat, every lyric, screams commercialism and airtime. Not necessarily a bad song, but not the most interesting on the album. The album closes with "The Best Is Yet To Come" which makes me thing, Anneke has even better music to offer us in the future? The song itself takes first place on the album for me; the presence of the overdriven guitars and bass compliment her voice perfectly to create a powerful and catchy, yet Heavy Rock track, with interesting and unpredictable licks and hooks.Van Giersbergen and her band are quickly cementing themselves as one of Europe's currently most powerful and gorgeous-sounding rock groups, whom don't necessarily always cling to the commercialized, radio cliché sound, although no doubt perfectly suited to long air time. Coming from a metal head who listens to a fair share of female singers, I believe she could sing anything she wanted to, and the band of musicians that have got together and recorded this organic album with her have done so masterfully, and I'm not sure if the best is yet to come." - Metal Temple
    $14.00
  • The Journey Continues!"To Travel For Evermore," the second album from the Danish metal band Wuthering Heights, is the sequel to their celebrated debut "Within". This second part of a projected musical trilogy finds the band with a new and stronger lineup. Main composer/guitarist Erik Ravn is reunited with ex-Tad Morose vocalist Kristen Andren but the lineup now also includes Time Machine bassist Lorenzo Deho and guitarist Henrik Flymann of Zool. With twin lead guitars the band has expanded their musical vision to encompass neoclassical metal as well as symphonic speed metal. Wuthering Heights will appeal to fans of Blind Guardian, Rhapsody, Angra and Yngwie Malmsteen. The album was produced by Tommy Hansen who cut his teeth producing Helloween, Pretty Maids, and Iron Fire.
    $5.00
  • "Fair to say their name is still as dislikeable as it was when we covered their excellent album Eight Pieces, One World album two years ago but musically the Belgian metallers still rock the juices out of us as proven by new encounter Odd Memories. Max Pie fills their third album with all the essences which made its predecessor a surprising and compelling proposition but it is with bigger and bolder imagination and creative energy. We are no major heavy/power metal fans here to be honest but once again Max Pie has given us one thumping and rousing time.The band was formed in 2005 by vocalist Tony Carlino taking inspirations from bands such as Symphony X, Van Halen, Toto, Queensrÿche, and Dream Theater into their emerging ideas. A slightly unstable time in personnel graced their early years before Max Pie released debut album Initial Process in 2012. Fan and critically acclaimed it was surpassed by Eight Pieces – One World a year later in presence, sound, and praise. Its release was followed by the band playing numerous festivals and undertaking tours with the likes of Symphony X, Evergrey, Fates Warning, Avantasia, and Queensrÿche. Now they return with, as the last album, the Simone Mularoni mixed and mastered Odd Memories and simply their finest, most inventive proposal yet.The album opens with its title track; an instrumental ripe with a foreboding atmosphere and epic textures all cinematically imposing on the imagination. This type of beginning is becoming a common practice across varied metal offerings but when done right, as here, it makes a potent invitation into any release. As the track slips into the following Age of Slavery, a sizzling electronic coaxing colludes with rampant riffs and a melodic embrace of keys. The thick commanding rhythms of drummer Sylvain Godenne shape and invigorate the track further, framing the growling vocals of Carlino perfectly. The frontman’s diverse delivery is as magnetic as ever, some elements more powerful and potent than others but like the music, a constant lure that likes to stretch and push both song and musician. As the guitar and keyboard craft of Damien Di Fresco builds and expands its enterprise, the track blossoms into a sturdy and fiery encounter to really kick things off.It is also, in many ways, a relatively straight forward and maybe expected proposal from the band, the new exploration showing itself more from Odd Future on. Keys breed the first mesmeric caress on the third track before guitars and the wonderfully dark throated bass of Lucas Boudina bring their hues to the emerging and stirring landscape of the encounter. Once vocals join, the song settles into a melodic roar and sonic flame of melodic and heavy rock ‘n’ roll, their union a heated and tenacious arousing of ears and thoughts veined by sparkling, and at times understated temptation from the keys. It is when things go off kilter with a glorious stretch of discord kissed invention and melodic bedlam that the song really comes alive and if there is any moan it does not play in this great moment long enough.Promised Land opens on a vivacious escapade of keys quickly encased in storming riffs and rhythms, it all quickly blooming into a virulently contagious slice of rock pop with classic metal and progressive rock hues. It has single running through its potent craft and lusty veins, every second of the track a bold and rousing incitement for body, voice, and emotions. Such its power and lure, it gives next up Love Hurts a hard time trying to follow it, and as mesmeric in melodic beauty within tempestuously emotional and physical terrain that it is, it never quite finds the same full-blooded personal reactions as its predecessor. It is undeniably superbly crafted and woven though and does leave only fully satisfied thoughts before the darker, ravenous excellence of Don’t Call My Name takes over. The guitars alone are predatory with their creative rummaging of the senses whilst the keys float with celestial temptation above them and the uncompromising rhythms spearing it all. Reaping the ripest elements of technical and progressive metal, band and track pulsate as they gnaw on ears, adding melodic and harmonic balm to the increasingly irresistible voracity on offer. With Carlino also on fine form, the track is the pinnacle of the album, reason alone to eagerly approach Odd Memories.The acoustically brewed Hold On slips in next to transfix and from a slow start to its persuasion grows into a big favourite. Whether by chance or intention, it has a Bowie-esque essence to it, a floating whisper in quieter moments which does it no harm. It is a scent soon out flamed by vocals and the sonic blaze giving the song rich crescendos and a breath-taking finale before Unchain Me takes the listener on another tumultuous ride of rugged metal and tantalising electronic adventure.No prizes in guessing some of the scenery within Cyber Junkie, its electronic and industrial endeavour a potent spicing to another song offering a compelling fusion of bestial metal and melodic flirtation, the former steering the ship with invigorating success. As Don’t Call My Name before it, the track is a masterful web of varied and diverse styles in one predacious provocateur, thoughts of bands from Anthrax to Armored Saint, Dream Theater to Skyharbor coming to mind across its exciting and again show stealing soundscape.The album is finished by The Fountain Of Youth, a song which either a raging storm of a canter or a gentle caress enthrals and sparks only the keenest attention and support from ears and emotions. Like a couple of other songs it takes longer to get all of its hooks inescapably entrenched but with its additional symphonic elegance and emotively hued strings, the song has seduced long before realisation notices.Wrapped in the excellent artwork of Didier Scohier, Odd Memories and indeed Max Pie have caught us again with a tempest of sound and invention driven by craft and passion. This time it is bigger, more adventurous, and confirming the band as one of progressive power metal’s finest." - The RingMaster Review
    $15.00
  • One of the finest releases of the era "Procol Harum” captured the exquisite song writing of Gary Brooker and Keith Reid and the excellence of the musicians in the group, namely Gary Brooker (voice, piano), Robin Trower (lead guitar), David Knights (bass guitar), B.J. Wilson (drums) and Matthew Fisher (Hammond organ). The overall result was a collection of songs that would prove to be truly ground breaking, despite only having being released in Mono at the insistence of producer Denny Cordell.Newly re-mastered from the original tapes, this Deluxe edition of "Procol Harum” has been expanded to include 27 bonus tracks (8 previously unreleased) over two CDs, including the classic singles "A Whiter Shade of Pale”, "Homburg”, along with rare B-sides, alternate session takes and stereo mixes and seven previously unreleased BBC Radio sessions from June and September 1967.This expanded deluxe edition of "Procol Harum” 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, along with a facsimile promotional shop poster for the release of the album in January 1968.Disc One1. CONQUISTADOR2. SHE WANDERED THROUGH THE GARDEN FENCE3. SOMETHING FOLLOWING ME4. MABEL5. CERDES (OUTSIDE THE GATES OF)6. A CHRISTMAS CAMEL7. KALEIDOSCOPE8. SALAD DAYS (ARE HERE AGAIN)9. GOOD CAPTAIN CLACK10. REPENT WALPURGISBONUS TRACKS11. A WHITER SHADE OF PALE12. LIME STREET BLUESA & B SIDES OF SINGLE13. HOMBURG14. GOOD CAPTAIN CLACK (SINGLE VERSION)A & B SIDES OF SINGLE15. ALPHA16. SALAD DAYS (ARE HERE AGAIN) – PREVIOUSLY UNRELEASEDRECORDED AT OLYMPIC STUDIOS, LONDON – 29th MARCH 196717. UNDERSTANDABLY BLUERECORDED AT OLYMPIC STUDIOS, LONDON – 17th JULY 196718. PANDORA’S BOX (INSTRUMENTAL)RECORDED AT ADVISION STUDIOS, LONDON - 24TH AUGUST 196719. CERDES (OUTSIDE THE GATES OF) (ALTERNATE MONO MIX)20. SOMETHING FOLLOWING ME (ALTERNATE MONO MIX)Disc Two1. A WHITER SHADE OF PALE (EXTENDED EARLY VERSION)RECORDED AT OLYMPIC STUDIOS, LONDON – 29TH MARCH 19672. HOMBURG (EXTENDED STEREO VERSION)3. REPENT WALPURGIS (EXTENDED STEREO VERSION)RECORDED AT ADVISION STUDIOS, LONDON - AUGUST 19674. CONQUISTADOR (1971 STEREO MIX)5. SHE WANDERED THROUGH THE GARDEN FENCE (1971 STEREO MIX)6. SOMETHING FOLLOWING ME (STEREO MIX)7. MABEL (UNDUBBED STEREO MIX)8. KALEIDOSCOPE (STEREO MIX)9. CERDES (OUTSIDE THE GATES OF) (STEREO MIX)10. HOMBURG (1971 STEREO MIX)11. MORNING DEW12. A WHITER SHADE OF PALE13. MABEL"EASYBEAT” SESSION 14th JUNE 1967 BBC LIGHT PROGRAMME PREVIOUSLY UNRELEASED14. HOMBURG15. GOOD CAPTAIN CLACK16. SHE WANDERED THROUGH THE GARDEN FENCE17. KALEIDOSCOPE"TOP GEAR” SESSION 27th SEPTEMBER 1967 BBC RADIO ONE PREVIOUSLY UNRELEASED 
    $18.00
  • "Progressive rock and boy-band pop seem like natural enemies at first. The former's fascination with ornate, elongated passages of finger-exhausting musicianship is in almost every way the opposite of the latter's emphasis on catchiness first; it's hard to imagine turn-of-the-millennium hits like "Bye Bye Bye" with extended guitar and keyboard solos. Yet ever since A Doorway to Summer, their 2005 debut, Moon Safari has put to rest the notion that progressive-minded songwriters can't make pop that's as hook-driven as it is ostentatious. Grandiloquent epics like "Other Half of the Sky," from the 2008 double album Blomljud, weave together widescreen arrangements with the band's signature five-part vocal harmony, a feature unmatched by few groups in any genre, anywhere. It's easy to isolate the audience with solipsistic soloing and obtuse orchestrations, but from day one Moon Safari has made prog that—assuming the layperson were more amenable to songs that run upwards of thirty minutes—could lead them to something like a pop crossover hit.But while the union of hook-heavy vocal interplay and '70's prog stylistics gives Moon Safari an unmistakable, unique sound, it also handicapped them in a significant way for their first two LPs. The group's accessibility on A Doorway to Summer and Blomljud, along with its technical prowess, is unassailable, but the high-fructose sweetness of its style leads to a diabetic rush when stretched out onto songs that span ten to thirty minutes. For example, "Other Half of the Sky," the titanic thirty minute showstopper off of Blomljud, has so many memorable hooks that by the time it's run its time out, it's hard to remember all of them. The classic problem of "too many voices leads to a noisy room" was the defining problem of Moon Safari's otherwise enjoyable sound for some time. All that changed, however, in 2010 with the release of Lover's End.It is no exaggeration—even as the decade remains young—to say that Lover's End is one of the finest progressive rock records of the '00's. Hell, it's not even crazy to say that it's one of the finest pop albums of the '00s; anyone, even those turned off by prog's eccentricities, can find something to love on this mellifluous collection of songs. From the a cappella charm of "Southern Belle" to the hook-loaded "New York City Summergirl," Lover's End is chock full of goodness from beginning to end. What explains its genius is that in contrast to A Doorway to Summer and Blomljud, the songs are given exactly the amount of space they need, and not a second more. Some songwriters may feel hamstrung by the verse/chorus structure, but it's a perfect fit for Moon Safari's joyous approach to music.With their newest studio outing, Himlabacken, Vol. 1, Moon Safari continue the refining of their sound, and while this isn't the breakthrough that Lover's End was, it nonetheless attests to the brilliance of this group. Whereas the latter was bound by a loose concept (love and heartbreak), Himlabacken Vol. 1 is less a lyrics album than its predecessor. The cost of this is that the music is less distinct in its cohesiveness, but there are no shortage of catchy passages and amped-up solos. "Mega Moon" comes off as a tribute to musical theatre, with "The Very Model of A Modern Major General" vocal delivery interweaving with Queen-esque bombast to an impressive effect. "Too Young to Say Goodbye" sees and matches the polyharmonic beauty of "Lover's End (Part One)." By sticking to concise song formats—the longest cut here runs nine and a half minutes—Moon Safari ensures that things never run out of steam, an essential quality to any good progressive rock band.If nothing else, Himlabacken, Vol. 1 proves that there's one thing Moon Safari can't be accused of: being unaware of themselves. Grand finale "Sugar Band" is as much a statement of identity as it is a slice of epic pop: "Sweet and saccharine are we," they declare, followed by "syrup's the blood in our veins." (Less successful is the clumsy Katy Perry innuendo of, "suck our big candy canes," which is thematically consistent but tonally off.) Both "Sugar Band" and "Little Man," one of the few Moon Safari songs to feature a solo vocal, are emblematic of the mushiness that might turn some prog fans away from their music. The latter, while obviously a touching document of a father's love for his son, does feel a bit out of place in how deeply personal it is; part of the strength of this group's sonic is the universality of its pop appeal, and the intimacy behind "My Little Man" makes listening to it an almost voyeuristic experience. "Mega Moon" and "Sugar Band" are better at capturing the convivial spirit of the band that's accessible to all.As with past outings, even those drawn to vocal harmonies might find it hard to stomach all of the sweetness of Himlabacken, Vol. 1. But what ultimately makes this LP successful is its unpretentious commitment to fun. Moon Safari are a rare collective that prove daunting musical chops aren't anathema to accessibility, and with Himlabacken, Vol. 1 they've made a recording that, while not the magnum opus that Lover's End was, is as true a capturing of their ethos as there could ever be. Sating a sweet tooth brings to mind the phrase "guilty pleasure," but there's no guilt involved with music as first-class as this. Who knew being in a boy band could sound so classy? " - Sea Of Tranquility
    $14.00