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Original Album Series (5CD)

SKU: 81227965112
Label:
Rhino Records
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Slipcased 5CD set includes the following albums:

Out Of The Silent Planet
Gretchen Goes to Nebraska
Faith Hope Love
King's X
Dogman

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  • Kit Watkins runs wild!! Comes with 2 live bonus tracks.
    $16.00
  • Debut album from this Italian crossover band.  Secret Tales is not traditional rock progressivo italiano style of music.  This blends together symphonic rock, medieval and Celtic folk, and maybe even some subtle touches of metal around the edges (but barely).  This is a Black Widow Records release so expect an overlay of dark subtext.  Female vocals are in Italian and fit the ominous music perfectly.  There is an otherworldly ominous quality to the whole affair.  Its a concept piece and it would definitely help if you spoke Italian but the music by itself has a dark beauty."Secret tales of an enchanting journey that takes place over time in a kingdom disappeared from who knows how long ...Kings, queens, princes and princesses, fairies, witches and magical and grotesque creatures rotate with their stories in a fabulous location, where the figure of the demiurge-Unicorn overhangs and protects everything and everyone, from the monstrous Faust to the sweet Elf. Emotions without boundaries, to other infinite universes ... The charm and enchantment of soft and dreamy music, full of fabulous side dishes and lyrically supported by parts sung in Italian, English and French by Princess Tiziana Radis: the debut album of the Secret Tales is an imaginary sound that turns his gaze to the ancient traditions of Celtic folk-medieval, alternating dark atmosphere and refined symphonic progressive melodies… A work of great emotional impact !"
    $16.00
  • "This is a classic live album by my all-time favorite rock band. It includes many of the band's classics from their three successive classic rock albums "Infinity" (1978), "Evolution" (1979), and "Departure" (1980). Needless to say for any true Journey fan, these songs sound great live.Many of these performances go far beyond the studio versions. Take the jam that comes out of "Walks Like A Lady"--a 3-minute song that turns into 7 minutes live. Songs like "Line Of Fire", "Feeling That Way", "Anytime", and "Wheel In The Sky" absolutely rock. The inclusion of the live track "Dixie Highway" and the new (at the time of release) studio track "The Party's Over (Hopelessly In Love) are also fantastic.This is what a live album should be. The crowd is very prevalent throughout the album, and the interaction between the band and the crowd is left unedited in many spots. Clearly, this band was as special live as they were on their studio albums. (They still are, by the way, as I just saw the current lineup at "The Big E" in Massachusetts on September 29th--their last show of this year's tour.) This is a fantastic live album of some of the best classic rock of a generation. Highly recommended."
    $8.00
  • One of the truly great albums of the 70s. The band developed long form compositions incorporating elements of jazz, folk, and r'n'b in a unique but lyrical way. This is music that just ebbs and flows as it jams on. Perhaps only topped by their next studio album. This remastered edition is a real killer - it features three tracks from a proposed/documents/catalog #'d live album that was never released called "Live - November 70". The tracks were recorded at the Fillmore East in November 1970. A stone cold classic.
    $13.00
  • "After 4 studio albums, Papir unleash their first live album. It’s surprising it took so long, since the band’s shows have long been revered amongst fans.The music-biz has also noticed Papir’s stellar live performances: like when Mojo Magazine singled them out from the hoards of bands at danish music-showcase Spot 2012 as THE show of the entire festival - as well as the holy rite of passage for any cosmic Stoner Rock band: The Roadburn Festival in Tilburg, The Netherlands, where Papir was asked not to perform no less than 3 times during the festival in 2014! It’s the first and finest of these shows in full that Papir havde chosen for this release, and it’s all here: Christoffer Brøchmann’s jaw-dropping drum chops, easing from delicate jazzy drumrolls one second into deranged math-psych explosions the next - creating a diving board for Nicklas Sørensen’s vast array of guitar-styles, blending post-rock drones with majestic wah-drenched soloing. With Christian Becher keeping it all together with his bouncing and booming bass lines, as well as utilizing his groovemaker to make blistering ethereal soundscapes.While Papirs albums have always been based on live performances during intense studio sessions, there’s still a different element present at Live at Roadburn - maybe due to the drunken barks from the ecstatic crowd, or the fact that the band is not just playing for the tape machines. There’s an extra layer of adrenaline present - the added aggressive tone of fluttering fuzz and sizzling cymbals, an extra punch and and grit of their build ups. From the first note, Papir show just how far they’ve travelled over the span of a few years, catapulting a motoric track off their self produced DIY debut release into new soaring heights. The show also reworks “Monday” and “Sunday #2” from Stundum - their first El Paraiso-release, as well as drop a highlight from last year’s “IIII” into the equation. As if this wasn’t enough, they premiere two brand new tracks with the same stamina, making sure that Live at Roadburn is not just a roadmap of where they’ve been, but very much an up to date snapshot of one of Europe’s hardest working instrumental outfits.The album was mixed and mastered by Causa Sui’s Jonas Munk from a 24bit multitrack recording."
    $19.00
  • MY BROTHER THE WIND is an improvisational cosmic rock collective consisting of members of widely known Swedish acts Makajodama, Magnolia, Animal Daydream and most notably Anekdoten, one of the more widely recognized names in the 1990s prog rock revival.Recorded live in the studio with no overdubs during a single day in January 2013, Once There Was A Time When Time And Space Were One captures the collective's progressive soundscape qualities with incredible analogue studio production. The band utilized 6 and 12 string acoustic and electric guitars, Mellotron, flute, bass, drums, congas and more to complete the task. Expect 45 minutes of the band's most succinct material to date, recorded deep in the snowy, forested, Swedish wilderness.In 2013, MBTW expanded into an even wider fanbase, having been invited to play the mighty Roadburn Festival in Tilburg, Holland, as well as at Duna Jam in Sardinia.  At the invitation of Opeth’s Mikael Okerfeldt, guitarist Nicklas Barker returned to Roadburn to perform an improv set with Dungen guitarist Reine Fiske.Those who frequent the works of Popol Vuh, Amon Duul, Sun Ra, Träd, Gräs Och Stenar, Albert Ayler, Ash Ra Tempel, Gong, Pink Floyd and other visionary, psychedelic rock artists are advised to investigate this act. "Lush and instrumental for its duration, My Brother the Wind‘s third full-length, Once There was a Time When Time and Space were One (released by Free Electric Sound/Laser’s Edge), rolls out of the speakers much easier than its title rolls off the tongue, though both title and the work itself satisfy rhythmically. The Swedish four-piece — they now seem to be a bass-less trio with Nicklas Barker (Anekdoten) and Mathias Danielsson (Makajodama) on electric/acoustic 12-strong guitar and Daniel Fridlund Brandt on drums, but Ronny Eriksson plays bass on the album — reportedly recorded live to two-inch tape on a vintage machine, and the passion they put in bleeds readily into the nine-song/45-minute outing, fleshed with liberal splashes of Mellotron courtesy of Barker to play up a ’70s prog feel in a piece like the 12-minute “Garden of Delights.” That’s hardly the only point at which those sensibilities emerge, but even more than that, the primary vibe here is one of gorgeous heavy psych exploration, the band adventuring and feeling their way through the material as they go.On peaceful moments like the title-track, which arrives as the penultimate movement before “Epilogue” leads the way back to reality — accordingly, “Prologue” brings us in at the start — that exploration is positively serene, the 12-string complemented by spacious electric tones spreading out across vast reaches, but Once There was a Time When Time and Space were One offers more than drone and psychedelic experiments. Subtly pushed forward by Brandt‘s drums, pieces like “Into the Cosmic Halo” and even “Epilogue” enact classic space rock thrust, and even “Song of Innocence Part 1,” the first part of the journey after the backward atmospherics of “Prologue” introduce, has some cosmic feel amid its echoing solos. Its subsequent complement, “Song of Innocence Part 2,” swells to life on an even more active roll, waves of amp noise up front while drums and bass groove out behind, waiting for the guitars to catch up, which they do in a suitably glorious payoff, relatively brief but masterfully engaging, setting a momentum that continues well into “Garden of Delights,” a focal point for more than its length.Because the songs flow so well one to the next, some directly bleeding, others giving a brief pause, and because later cuts like “Thomas Mera Gartz” — named in honor of the drummer for ’70s Swedish proggers Träd, Gräs och Stenar — and the title-track have a quieter take, it’s tempting to read some narrative into the shifts of Once There was a Time When Time and Space were One, but with the material not being premeditated, I’m not sure that’s the intention so much as a signal it’s well arranged. In any case, the album offers an immersive, resonant listen, with tonal richness to spare and the presence of mind to keep a sense of motion even in its stillest parts and a balance of organic elements — Danielsson‘s recorder and Brandt‘s percussion on “Misty Mountainside,” the 12-string, etc. — amid a wash of effects and swirling psychedelia. This attention to sonic detail makes Once There was a Time When Time and Space were One more than just a collection of jams, and adds further purpose to the already worthy cause of My Brother the Wind‘s thoughtful musings, wandering and not at all lost." - The Obelisk
    $13.00
  • New remastered edition gets the full Mark Powell/Esoteric treatment and arrives with one bonus track. Great disc with Richard Sinclair and Mel Collins in the lineup. "Echoes" is an all time classic. Essential.
    $16.00
  • This is the second album in the live series documenting the band's residency in Tokyo in April 2014.  This is a complete performance of Per Un Amico.  More in the series to come...
    $19.00
  • "A new interpretation of a classic RPI title! This is quite an undertaking, but it comes off in an outstanding way, giving new life to old friends. In contrast to so many reworkings of old pieces that I've heard in recent years, this one does not leave me only wishing to listen to the original. Rather, the new work stands well on its own, not only helping me listen to the original with new ears, but also bringing new insights and experience.In 1972, Latte e Miele released their debut, an incredibly ambitious work based on the Passion of St. Matthew, "Passio Secundum Mattheum." This is one of the seminal titles of 1970s RPI and has rightfully stood the test of time. The band would never equal this album, although the subsequent title, "Papillon", came close. After that the band broke up for a time, until drummer Alfio Vitanza reformed the band, with new members including bassist Massimo Gori. Their only album, "Aquile e Scoiattoli", has its moments but is inferior to the first two, and the band disbanded a few years later after moving toward more commercial music.In 2008 the band reformed, including all three original members (Vitanza and songwriter/keyboardist Oliviero Lacagnina, as well as guitarist Marcello Giancarlo Dellacasa) and Massimo Gori, bassist from the second generation of the band. The quartet released "Live Tasting", an excellent live album that portended of the good to come. Their time together also produced a wonderful new album, "Marco Polo: Sogni e Viaggi" in 2009.Over the years, Lacagnina never stopped composing his masterpiece, his "Passio". Now the quartet has recorded anew their masterpiece, adding those "new" compositions into the narrative. For example, "Il Pane e il Sangue dell'Alleanza" has been inserted right after "Ultima Cena", and "Il Rinnegamento di Pietro" and "Il Prezzo del Sangue" between "Il Pianto" and "Giuda". Also, the ending has been fleshed out significantly, with four new songs, and the final song, "Come un Ruscello che..." includes the final themes previously entitled "Il Dono della Vita". Also of note, a solo organ piece entitled "Toccata per organo" is placed just before "Calvario"--this is special, as it is an original take from 1972!The instrumentation is true to the spirit of the 1972 piece, although with an updated sound. Ditto the choir, which sometimes on the 1972 version is muted and thin--here the choir parts are strong, lush, and vibrant. The majority of the pieces that were rerecorded for this edition also maintain their compositional structure, although there are a few changes inserted (notably in "I Falsi Testimoni", the new version of "I Testimoni" parts 1 and 2). There is nothing that violates that spirit of the original work, though it is impossible to duplicate its wonderful innocence.Another unique feature of this album is the presence of several prominent figures from RPI providing the spoken Evangelist parts. These include Alvaro Fella (Jumbo), Lino Vairetti (Osanna), Silvana Aliotta (Circus 2000), Paolo Carelli (Pholas Dactylus), Aldo de Scalzi (Picchio dal Pozzo), Sophya Baccini, Elisa Montaldo (Il Tempio delle Clessidre), Giorgio D'Adamo (New Trolls), Max Manfredi, Simonluca, and Paolo Griguolo (Picchio dal Pazzo). It's a nice touch that really rounds out the album.The CD comes in a jewel case with a lyric booklet. I'm told that the pending Japanese version will contain a newly recorded composition as a bonus track. But don't wait for that one--go out and grab this one. You won't be disappointed. Four plus stars (Gnosis 13/15).Edit: I can't stop listening to this! Though it's not quite as good as the original, it's very close. I'm bumping it up to Gnosis 14/15, which is five stars on PA." - ProgArchives
    $16.00
  • Finally back in print!"What a great album this is. The debut of Finnish band Hoyry-Kone. I prefer this one to the slightly more popular Huono Parturi. These guys sing in Finnish, and all the song titles are in Finnish, so apologies for not being able to put umlauts over almost every vowel. This album reminds me of Mr. Bungle, although the music here doesn't jump all over the place like it has a short attention span, like Bungle."Orn" starts almost funky with operatic vocals. Then some Crimson style guitar interplay before backwards effects. Later a more mellow section. Then some strong bass before it goes back to the funky opera part. "Hamaran Joutomaa" begins with Crimson like interlocking guitars. Later a nice melody on some instrument...a synth I guess. Singing starts. Later on goes into a different section thats more harder before some more Crimson style interlocking guitars. "Pannuhuoneesta" sounds like Bungle of the time. Very techno sounding."Luottamus" is a loungy jazz type of song. Nice melodic playing on violin and oboe. Good singing. Gets more orchestral with some acoustic guitar. "Kaivoonkatsoja" is an instrumental with metal riffing and symphonic violins. "Kosto" starts with acoustic upright bass, oboe, cello and vocals. Later almost slap style electric bass playing and drums. Gets more rocking with guitar near the end. Then just electric bass and cello."Hata" is another instrumental. Generally rocking, it changes throughout the song. I like the sound of the bass at the end. "Myrskynmusiikkia" starts out more rocking then goes into a part with vocals and tremolo guitar. Later bass, drums and violin. After some weird vocals. Goes back to vocals and tremolo guitar. Then full band again. "Hyonteiset" has a jazzy rhythm and acoustic guitar with vocals and violin/cello. The song ends and after a moment of silence some cacophony with tape speed altering.This is great progressive rock from 1995. Although this is technically avant-prog, it's not very dissonant or atonal at all. Highly recommended." - ProgArchives
    $20.00
  • Remastered edition with 5 bonus tracks."Cheap Trick's eponymous debut is an explosive fusion of Beatlesque melodic hooks, Who-styled power, and a twisted sense of humor partially borrowed from the Move. But that only begins to scratch the surface of what makes Cheap Trick a dynamic record. Guitarist Rick Nielsen has a powerful sense of dynamics and arrangements, which gives the music an extra kick, but he also can write exceptionally melodic and subversive songs. Nothing on Cheap Trick is quite what it seems. While the songs have hooks and attitude that arena rock was sorely lacking in the late '70s, they are also informed by a bizarre sensibility, whether it's the driving "He's a Whore," the dreamy "Mandocello," or the thumping Gary Glitter perversion "ELO Kiddies." "The Ballad of TV Violence" is about mass murder, while "Daddy Should Have Stayed in High School" concerns pedophiles. All of it is told with a sense of humor, but it doesn't come off as cheap or smirking because of the group's hard-rocking drive and Robin Zander's pop-idol vocals. Even "Oh, Candy," apparently a love song on first listen, is an affecting tribute to a friend who committed suicide. In short, Cheap Trick revel in taboo subjects with abandon, devoting themselves to the power of the hook, as well as sheer volume and gut-wrenching rock & roll -- though the record is more musically accomplished than punk rock, it shares the same aesthetic. The combination of off-kilter humor, bizarre subjects, and blissful power pop made Cheap Trick one of the defining albums of its era, as well as one of the most influential. [The 1998 Epic/Legacy reissue of Cheap Trick features a different track sequence than the original and also adds several bonus tracks, many of which are previously unreleased.]" - Allmusic
    $7.50
  • "When one thinks of countries that are a hotbed of prog metal bands, places such as Norway, Sweden, and Finland come to mind. However the Land Down Undah’ otherwise known as Australia has been churning out amazing prog metal bands for the past decade. Bands such as Hemina, Voyager, Lord, Carnivool, Caligula’s Horse, Teramaze and Melbourne’s Vanishing Point have been wowing the prog metal scene for the past decade. It’s been seven long years since the release of Vanishing Point’s The Fourth Season, but the melodic metal quintet consisting of Silvio Massaro (Vocals), Chris Porcianko and James Maier (Guitars), Simon Best (Bass), and Christian Nativo (Drums) have finally returned with their fifth studio album Distant Is The Sun on AFM Records. The band has stayed true to their unique blend of progressive, power, AOR metal and have secured the talents of Sebastian “Seeb” Levermann of Ordan Ogen for mixing duites on Distant Is The Sun. Picking up right where The Fourth Season left off, the musicianship and songwriting on Distant Is The Sun is exceptional.The album kicks off with the short instrumental track Beyond Redemption and powers right into the first song King of Empty Promises. The double bass drum attack from Nativo and melodic keyboards lead the way and the harmonious soaring vocals during the chorus are a perfect way to officially start the album.The title track is next and begins with a heavy groove and transforms into a light piano tinged verses with Massaro’s impressive vocals leading to a catchy and melodic chorus. The twin guitar harmony lead attack from Porcianko and Maier is a thing of beauty during the solo section.Symphonic keys signify the start of When Truth Lies, an epic slab of energetic melodic progressive metal with a driving headbanging beat. Sonata Arctica frontman Tony Kaako lends his melodic pipes to the fast and furious power metal of Circle of Fire. Kaako and Massaro’s vocals compliment each other extremely well and create an amazing metal duet.The keyboard prominence on Denied Deliverance is pronounced in the mix but never overshadows the heaviness of the track, it just adds to the overall melody of the song. A blazing guitar solo section highlights the middle portion of another stellar song. Let the River Run has an impeccable acappella vocal harmony section that begins this mid tempo metal gem. The beautiful vocals during the chorus will be stuck in your head for days after listening.The album slows down for the piano based Story of Misery but don’t be fooled into thinking this is a traditional power ballad. The emphasis is on POWER with a emotive vocal performance from Massaro. Era Zero speeds things right back up with a frenzied double kick attack with plenty of soaring melodic vocals throughout and a shredding guitar solo from the tandem of Porcianko/Maier and culminates in a symphonic ending and bursts right into Pillars of Sand which keeps the hard and fast metal flowing.The eerie keyboard intro of As December Fades melds into a Maiden-esque guitar harmony and a glorious AOR sounding chorus with a symphonic element that is reminiscent of Within Temptation. A bright piano melody signals the beginning of Handful of Hope. Once again Massaro gets his chance to shine with an impressive vocal performance filled with passion and emotion. The bands penchant for writing catchy power metal is on display on Walls of Silence. The brilliant symphonic melodies and heavy guitar compliment each other perfectly. The album closes with the acoustic guitar tinged instrument titled April, an understated yet effective piece of music with a keyboard accompaniment underneath in the mix. It is a curious choice to end the album, but well done nonetheless.After a seven-year absence, the world of melodic prog welcomes back Vanishing Point with open arms and hopefully Distant Is The Sun will shoot the band to the next level of popularity outside their native Australia. This goes to show that like a fine wine, Vanishing Point only improves with age!" - Lady Obscure
    $15.00
  • "While their records were entertaining and full of skillful pop, it wasn't until At Budokan that Cheap Trick's vision truly gelled. Many of these songs, like "I Want You to Want Me" and "Big Eyes," were pleasant in their original form, but seemed more like sketches compared to the roaring versions on this album. With their ear-shatteringly loud guitars and sweet melodies, Cheap Trick unwittingly paved the way for much of the hard rock of the next decade, as well as a surprising amount of alternative rock of the 1990s, and it was At Budokan that captured the band in all of its power."- All music
    $7.50
  • Fourth studio album from Leprous reinforces the fact that they are one of the most innovative and cutting edge bands working in the prog metal idiom.  The music of Coal has already kicked up a bit of controversy from the early listeners.  The music isn't quite as angular and frenetic as Bilateral.  Atmospheric passages similar to Tall Poppy Syndrome are perhaps a bit more prevalant as well.  All in all it's clearly identifiable as Leprous.  Ihsahn guests on one of the tracks - don't forget Leprous is his backing band.  Nice guys - great band.  Highly recommended."Considering Leprous‘s previous album Bilateral is considered by many to be a masterpiece of progressive metal; Norway’s Leprous had a tall order in front of themselves. Coming up with a followup to such a critically acclaimed and beloved album is no doubt a daunting task. Despite that, after two long years of waiting, Leprous have conjured the successor to Bilateral, and it’s called Coal. Usually, when bands release an album after their magnum opus, the result is either a “version 2.0″ of the previous album, or it’s a return back to the normal style of the band. Leprous have taken a bold turn instead, and they have reinvented themselves. Coal is clearly a Leprous album, carrying all their trademark touches, but it’s also very fresh and unique.With Bilateral, the band were clearly rooted in a sound that has been defined by the big names of progressive metal. By applying their characteristic syncopation, moody riffs and singer Einar Solberg’s haunting and powerful vocals, they were able to perfect an already existing sound. With Coal, the band have taken a different direction. The album is very dense, emotional, and quite avant-garde at times. While there are some more traditional songs similar to Bilateral, there’s also an air of neo-80s on some songs, while others carry some characteristics of modern Scandinavian indie bands. Longtime fans of Leprous will definitely see the direction that has been present since the band’s inception, but listeners who know of them only via Bilateral might be slightly confused. In the end, Leprous have always been about mood, and Coal is oozing with it.In terms of structure, Coal is more similar to Tall Poppy Syndrome than Bilateral (but not too similar to either in the end). The songs are slow burners, setting up a mood, then deliberately building on it until overwhelming the listener with the climax. Everything is very subtle, the production making every hit of every instrument matter. Each song is an exercise in building an atmosphere by slowly adding layers to form a very powerful sound. Einar Solberg is at his best here, he has taken his voice to the next level. He was already an amazing vocalist, but Coal sees him becoming a master of expression. There are many progressive metal bands nowadays with clean singers who can hit insanely high notes and execute amazing melodies. But what is often lost is the soft touch, the control over timbre that makes one’s voice special. Einar is a master of timbre, and he uses his abilities to their full extent in Coal. While this is an album about the big picture and constructing an ambiance with the convergence of all instruments, his unparalleled vocal skills definitely deserve a special mention, because he is what hammers down the emotions and makes this album so special.As mentioned before, Coal is a deliberate album, where attention is paid to every instrument. And the production, by Ihsahn (who also has a stellar guest appearance on the closing track), is perfect for this. Especially of note are the drums, they sound very real and quaint. The intimate feeling of some of the songs can directly be attributed to the unconventional drum sound. The drumming has also taken a turn for the more subtle, with small flourishes and cymbal runs building tension in the more atmospheric sections of some songs. The bass is also clearly audible and adds to the sound. The guitar work isn’t as flashy as Bilateral for the most part, but it also has more character because of that. It should come as no surprise to longtime followers of the band, but Leprous are masters of doing more with less, and all of the instruments reflect this. Another production detail worth noting is the presence of keyboards. The keyboard work is more prominent now. In Bilateral it was used mostly to add some extra layers to parts driven by the guitars, but here the keyboards form the building blocks of the sound. This is perhaps what sets the album apart from Leprous’s previous work, the heavier focus on atmosphere and a dense aural landscape. This might be disappointing to some who preferred the more direct approach of Bilateral, as Coal is less “metal”, but the more developed sound suits the band.In terms of songs, Coal is a very diverse album. The first three songs and the closer can be interpreted as a direct evolution of the band’s sound from their previous work, then there is the extremely moody and emotional masterpiece “The Cloak”. This is where the album takes a turn for the introspective, as the rest of the songs are quite experimental and ethereal. Overall, the album has a very clear journey with a defined start and end, and it works quite well. Some of the later songs can feel like they last half a minute too long, but the deliberate pacing of the album makes more sense as is.In the end, it’s hard to deny that Coal is yet another masterpiece by Leprous. The songs ooze character and deliberation. Coal is expressive, emotional and brave. It might not be what everyone expected after Bilateral, but Leprous have defied expectations and raised the bar again." - Heavy Blog Is Heavy
    $14.00