School's Out ($5 Special)

SKU: 2623-2
Label:
Warner Bros
Category:
Hard Rock
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"School's Out catapulted Alice Cooper into the hard rock stratosphere, largely due to its timeless, all-time classic title track. But while the song became Alice's highest-charting single ever (reaching number seven on the U.S. charts) and recalled the brash, three-and-a-half-minute garage rock of yore, the majority of the album signaled a more complex compositional directional for the band. Unlike Cooper's previous releases (Love It to Death, Killer), which contained several instantly identifiable hard rock classics, School's Out appears to be a concept album, and aside from the aforementioned title track anthem, few of the other tracks have ever popped up in concert. That's not to say they weren't still strong and memorable; while such cuts as "Gutter Cat vs. the Jets," "Street Fight," "My Stars," and "Grande Finale" came off like mini-epics with a slightly progressive edge, Alice Cooper still managed to maintain their raw, unrefined punk edges, regardless. Other highlights included the rowdy "Public Animal #9," the mid-paced "Luney Tune," and the sinister, cabaret-esque "Blue Turk."" - Allmusic

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  • Tasty and previously unreleased live set from 1978 by the former violinist of Transit Express. The lineup includes Transit Express bandmate Serge Perathoner on keyboards. This is very reminsicent of the work that Jean Luc Ponty and Didier Lockwood were creating around the same time. The source material is a bit flat in production but doesn't really detract. A great historical sonic document for any fan of fusion and French progressive rock.
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  • "'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 is presented in an elaborately designed 96 page case-bound book, with several additional inserts - including a diary, a sketchbook, newspaper cutting, a letter etc - featuring artwork by long-term SW collaborators Lasse Hoile (photography), Hajo Mueller (illustrations) and Carl Glover (design).Blu-Ray contents include hi resolution stereo & 5.1 audio (96/24 5.1 LPCM & DTS-HD Master Audio 5.1), seven additional alternative versions, mixes & radio edits, half-hour studio documentary, studio sessions photo gallery.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."
    $16.00
  • "As suggested by its title, 'II' is the second album by multi-national band Corvus Stone. They continue with their merry blend of various musical influences, for an explosive cocktail of colours and sounds. Drummer Robert Wolff is now an official member of the band, while vocal duties were shared between several recording artists of Nick Katona's label, Melodic Revolution Records (later shortened in MRR). Sonia Mota, the biggest David Bowie fan on earth, was involved again for the artwork, as enchanting as on the first album.As announced in preamble of this review, this album is a festival of musical sounds, as diverse as the origin of the musicians involved. While music in general is in the field of progressive rock, it's easy to notice that the band doesn't care about labels. Progressive rock is a means to sublimate their influences rather than an end in itself. Therefore, you will hear pop (the baroque echoes of the harpsicord in the opener with beatlesque vocal harmonies, the pastoral accents of "Eternal universe"). Other popular forms of music are also represented. Let's start with blues-rock. First with the cover of Murky Red's "Boots for hire", where the virile voice is provided by none other than Murky Red's frontman, Stef Flaming, yet in a context slightly different from the original version, through its spacey keys and arabesques. Then, the blues influence is also obvious in the languid "Mystery man", with its eerie keys and reminiscences of The Beatles' "I want you (she's so heavy)" in the closing section. Rock'n'roll is there as well with the hellish "Purple stone" and a short wink to Deep Purple's "Highway star". Folk music, highlighted by the use of finnish in the lyrics ("Campfire"), has also its place in this monumental album. On the other hand, "Uncle Schunkle" with its groovy rhythms and its vintage hammond, recalls the golden age of jazz-funk. And obviously, since Corvus Stone are regarded as a progressive rock act, the instrumental "A stoned crow meets the rusty Wolff" is a piece that goes in this direction, with many rhythm changes and colourful keys. The title of the song is a pun on the drummer's name but might also be a reference to Happy The Man's humorous piece "Stumpy Meets the Firecracker in Stencil Forest". Besides those influences, some dances are honoured throughout the record: salsa ("Scandinavians in Mexico"), cha cha cha ("Mr Cha Cha"), waltz ("Early morning call" with echoes of Stranglers' "Golden Brown"), bolero ("Camelus bactrianus"), flamenco (Colin's guitar opening to some tracks). Moreover, some neo-classical interludes intersperse the album, be it in a mozartian way ("Lisa has a cigar"), or romantic fashion ("Dark Tower"). More surprising is the pastoral symphony in four movements "Moaning Lisa" (two movements in the tradition of british songs of the elisabethan era, separated by a mouth organ-lead boiling instrumental movement, and a final waltz closing the symphony).Besides the lack of interest for any specific label, the band deals with a lot of humour, never grotesque, always delivered with profesionalism. This is made possible thanks to a wide range of keyboard sounds and versatile guitar soloing, among other factors. In fact, keyboard sounds are very diverse, ubiquitous and tasty. While guitar gently weeps with touching short spastic licks, it can also turn aerial, fiery or even delve in a classical spanish realm as seen before. The presence of drummer Robert Wolff on all tracks is an improvement over the previous album. In fact, his play blends the elegance of Barriemore Barlow and the punch of John Bonham, and is instrumental in the support of the music's humorous and eclectic flavours. Vocals are diverse this time, as singers from several MRR acts were invited for the project. Blake Carpenter's high-pitch and sense of derision is tempered by more seriously delivered vocals from his mates of MRR, the whole adding to the versatility of the work.Corvus Stone are a band that don't take themselves seriously, and this aspect should be taken into account when reviewing their works. Thanks to their experience in music, a great musicianship and a sense of humour, they deliver a music that is heartfelt, not dictated by any trend of the moment, and that will put a smile on your face and certainly make your day." - ProgArchives
    $12.00
  • "If you listened to the Mahavishnu Orchestra in the 1970s you are familiar with his keyboard wizardry. If you’re a fan of the Indiana Jones movies you have heard his piano. You might also have come across his works by watching US documentary films or TV series. Indeed, this man has “more than one iron in the fire”, as the saying goes. Since the 1980s Stu Goldberg is a highly requested soundtrack composer and session musician for Jerry Goldsmith, Lalo Schifrin and the like. Yet in recent years he began recording as a jazz musician again, and by doing so, resumed his early career which was exceptional in every way.Having caused a sensation at the Monterey Jazz Festival, when he was merely 17, Goldberg became a member of John McLaughlins Mahavishnu Orchestra, toured the world and played with Al Di Meola, Freddie Hubbard, Wayne Shorter, Billy Cobham, Jack Bruce and Alphonse Mouzon from the 1970s on. But it was the teamwork with the latter who finally set the ball rolling for Goldbergs solo career. And Joachim Ernst Berendt, of course, on who you can put the blame for many gems in the MPS vault. Since it was Berendt who produced Stu’s first LP “Solos – Duos - Trios” (1978) which already revealed Goldberg’s open-minded, organic and at the same time experimental philosophy, as he paired his piano and synthesizer with the guitar by one Larry Coryell and the Indian violin of L Subramaniam. Encouraged by label owner Brunner-Schwer, Goldberg created another three contributions to the MPS catalogue on his own, culminating in the album you now have in hand, which was long out-of-print and now is available on CD. It certainly ranks as the most elaborate and best thought-out work in Goldberg’s solo discography.Recorded and mixed in Hollywood in the August of 1981 “Eye Of The Beholder” holds many surprises: The title track is a rollicking opener which shows Stu in a virtuoso mood developing his solo parts in a very organic way. Teaming up is his brother Ken on sax whose recording debut we can witness here. “New Love” is a lavishly orchestrated piece with piano and strings under the lead of violinist Doug Cameron creating rich colours – it also features a tremendous bass solo by Jim Lacefield and plainly points at Goldberg’s cinematic capacity. This is also the case with “Song Burst”: Energetic and equally lyrical it unites a burning band with the driving pulse of drummer Dave Crigger (whom Goldberg knew through their common work in Don Ellis’ band) and quartet interludes of a nearly baroque character. “Daybreak, Sunbeam” and the following “Daybreak” must be seen as a suite, revealing a wide range of influences from the romantic period of Chopin and Rachmaninoff to daring modern jazz improvisation along its course, the two Goldberg brothers often playing side by side before Stu recaptures the first part with a splendid solo. “Montreal” once again shows all the qualities of this album, displaying a fine interaction between jazz band and strings with space for solo highlights, notably Ken on flute this time, and conga player Lee Pastora adding his skills to the Latin touch of the final section."
    $24.00
  • Grotesk is the third album from this French trio. Their two previous albums brought them world wide acclaim for their intriguing amalgam of jazz and metal fused together with a strong dose of Zappa-esque humor. Mörglbl was born in 1996 after noted guitarist Christophe Godin decided to form an instrumental fusion rock band. After meeting Jean Pierre Frelezeau (drums) and Ivan Rougny (bass), they decided to work together on the project. In 1997, Morglbl’s first cd named “Ze Mörglbl Trio!!” (IHL) was released and received good reactions from the French press. The band toured intensively in France, placing Christophe as one of France’s top guitar players. In 1999, the band’s second album “Bienvenue a Mörglbl Land” (IHL) was released. The band toured Europe, and Christophe started working as ambassador for Laney Amps, Vigier Guitars, Zoom Effects and Alvarez acoustic guitars. In 2000, Mörglbl disbanded, and Christophe released one cd with metal band GNO (“Trash Deluxe” Janvier Rec.), and became a worldwide in demand clinician. Ivan toured with fusion guitarist Cyril Achard and Y. Malmsteen’s drummer Mike Terrana, as well as rai star Cheb Bilal. In 2004, Christophe started his first solo project, named Metal Kartoon, and asked Jean Pierre and Ivan to be part of the band. The cd was released in 2005 (“Christophe Godin’s Metal Kartoon” Nocturne) and did pretty well in France. Christophe toured intensively (Germany, Italy, China, South Korea, USA, UK). He also released one cd and toured Europe with jazz guitar legend Pierrejean Gaucher (“2G” Nocturne) After hitting the road regularly with Metal Kartoon, Mörglbl regrouped and started working on new material. They recorded their newest cd “Grotesk” and toured Russia, Italy, Germany, Holland, USA as well as France of course, where their popularity rapidly grew after the news of their reunion spread. Christophe is going to be co-headliner of Tokyo Shred Fest in November, part of his next Asian Tour (China, South Korea, Japan, Indonesia, Philippines, Singapore) as Laney ambassador. With the release of Grotesk, Mörglbl has created an album with cross genre appeal. Fans of shred and fusion Gods like Allan Holdsworth, Steve Vai or Freak Kitchen’s Mattias IA Eklundh will find much to sink their teeth into. Morglbl on Myspace
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  • Legit reissue of the only album this Texas based fusion band recorded. Electromagnets are most notable for their guitarist, Eric Johnson, who became kind of famous. Quite brilliant and essential for any fans who digs a head on musical collision between The Dregs and Mahavishnu Orchestra. Highly recommended.
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  • Now here is a beautiful slice of contemporary progressive rock.  Anubis is an underrated band from Australia - bands down under don't seem to get the attention they deserve.  Hitchhiking is their third full length album.  2011's A Tower Of Silence was a big hit around here and frankly when it arrived it came as a huge surprise.  This long awaited follow up reinforces that the prog rock world needs to take notice.  The music has a cinematic Floyd-like feel.  Vocals from Robert James Moulding are emotion driven and have plenty of impact.  This is not a band who's music is filled with tons of soloing but what's here is solid.  In other words this is not old school prog - its very forward thinking but with a modern sound.  Highly recommended."I have long dreamt of an Australian progressive rock album that would inspire me to click the repeat button, in order to drift through its world all over again, and I am happy to declare that Hitchhiking to Byzantium has been on constant rotation for weeks at this point. Bringing an enchanting blend of Floydian melancholy and the energy of Rush to the table, Anubis have come to stake their claim as heavyweights in the Oz scene with their third opus.Whilst being equally impressed with their 2011 album A Tower of Silence (which I have only just heard recently also), I have found myself returning to Byzantium more to explore the subtle nuances contained within the album’s ten tracks. ‘Fadeout’ as an opening diddy is like riding a gentle breeze for just a short while before being swept up in all the drama and opulence of ‘A King with No Crown’, a reference quality track on every level, cinematic in scope and full of drama and tension and certainly an inspired choice as opening single for the album. ‘Dead Trees’ is a classic prog cut with all the bells and whistles sporting a vocal performance that harkens to a young James Labrie and a chorus that will have you by the balls from the first time you hear it.I mentioned a notable influence from Floyd and Rush earlier, but if I was to be honest, I would love to ask them if they are fans of American prog band Tiles and those wonderful Brits Anathema, because both bands are called to mind on this album amongst others like Sweden’s Anekdoten. The title track is a sublime centrepiece and features a plaintive aura that is sent soaring when spine-tingling female backing vocals lace the chorus. It’s so hard to choose a favourite song when they are all so filled with creamy goodness, but any of these three  - ‘Blood is Thicker than Common Sense’ (a seductive groover), ‘Tightening of the Screws’ (a majestic slice of melancholia reminiscent of early The Pineapple Thief) or ‘Partitionists’ (a lyrical and musical marvel) - could easily take the title for this humble listener.The final triptych features dark drama in ‘Crimson Stained Romance’, a song that reminded me most of a classic Floyd epic, the 15+ minute ‘A Room with a View’, which is nothing short of a sweeping symphony of moods and tones and the closing ‘Silent Wandering Ghosts’ sounds exactly like its title would suggest, haunting and transcendent with an outro to die for.These seven talented lads are a gifted lot, with every performance of outstanding quality, enhanced by a jaw-dropping production that let’s every instrument tell its own little story and play its part in this emotionally resonant work that as the band state themselves: "I feel that there's more of us in there - the hurdles that life throws at us and the only way to feel true inner peace - by examining the love around you. It's certainly an introspective record - but it's real life. It's about you, it's about me, it's about all of us. Hitchhiking to Byzantium. That journey is life."And somehow I believe them." - Loud Mag
    $15.00
  • "When Gregg Allman was asked why Dickey Betts was kicked out of the Allman Brothers Band in the spring of 2000, he is reported to have suggested the answer lay in the tapes from the group's two-week stand at the Beacon Theatre in New York. That makes it surprising that the Allmans would turn to those tapes to assemble their first new album release in five and a half years, Peakin' at the Beacon. Happily, however, there is no evidence of Betts' alleged shortcomings on the disc, though it must be admitted that, since he is one of two lead guitarists (the other being Derek Trucks, making his recorded debut with the band), it isn't always easy to tell who is playing. There is plenty of guitar work, and it is up to the Allmans' usual standard. Following the instrumental opener, Gregg Allman sings lead on seven straight songs, all of which come from the band's first three studio albums. Betts finally appears as a vocalist on the ninth track, the 1990 folk-country tune "Seven Turns." Finally, there is a 27-and-a-half-minute version of the 1975 Betts instrumental "High Falls," a typical extended workout complete with jazzy interludes and a lengthy percussion section. the Allmans may not have been due for another live album (two of their last three releases being concert recordings), but the series of Beacon shows has become an annual event, and the disc serves as a souvenir from the March 2000 shows. Fans who attended those shows, or who just want to be reassured that the Allmans sound much the same as ever, may enjoy the album; less devoted listeners probably shouldn't bother." - Allmusic
    $5.00
  • One of the great rarities in the prog world finally sees the light of day on CD. Rialzu was a short lived band from the isle of Corsica, off the coast of France. This one and done band recorded this album in 1978 and it was only released in Corsica. Now you can understand why an original copy fetches over $1,000. The album consists of two long tracks and one short one. The music has a very dark quality that has a distinct zeuhl feel fused with Corsican folk and progressive rock influences. Instrumentation consists of keys, violin, guitar, bass, drums and chanting vocals. The lead vocals of Christophe Mac Daniel are sung in his native tongue which sounds more Italian than French. This is the type of band that would have recorded on a label like Crypto. If you dig bands like Metabolisme, Magma, and Potemkine you can find a lot to sink your teeth into here. The CD is enhanced with 2 live bonus tracks and a brief video clip. There is even nice liner notes and photos. All in all a well executed reissue from Soleil Zeuhl that is essential for any fan of French progressive music.
    $18.00
  • Limited Edition Blu-Ray version featuring the 24bit / 96kHz stereo mixes and Dobly AC3 5.1 Surround mixes.So what does a heralded jazz organist do in his spare time?  Create an epic prog rock album of course.  Some of you may be familiar with Jim Alfredson and his organ jazz trio Organissmo.  Theo is a side project that must scratch Jim's itch to let loose with a whole arsenal of keyboards (don't worry - that Hammond figures quite prominently).  Its very clear that Jim is heavily influenced by the classic prog bands of the 70s. You can hear some elements of Yes, ELP, Pink Floyd and a host of classic rock bands in the DNA of the material but overall its a very contemporary sounding album.  In that way its similar to Beardfish in the sense that Jim takes the old school sounds and adds it to something modern so you here the echoes of the grand old days but it doesn't sound dated at all.  I can listen to stuff like this 24/7.  Highly recommended. "Formed by world reknown keyboardist Jim Alfredson (organissimo, Dirty Fingers, Janiva Magness, Greg Nagy Band, Root Doctor) THEO harkens back to the keyboard-centric superbands of the 1970s like Yes, Genesis, and Emerson Lake and Palmer, but with a distinctly modern and bold approach.THEO also represents a return to the concept of the keyboardist as a vital and irreplaceable part of the group, rather than a mere sideman.The intrepid and dynamic music is paired with auspicious lyrical themes of corporatization, consumerism, loss of innocence, exile, and the obsession with celebrity. Lead vocals are handled by Alfredson himself. Usually relegated to background duties, Alfredson's surprisingly flexible baritone voice shifts from soaring muscularity to intimate falsetto and everything between.The eponymous debut album features six tracks including an epic three song opening suite comprising 24 minutes."
    $17.00
  • First time on CD - reissued in a gorgeous gatefold mini-lp sleeve. "Live In Montreux" is actually their first album, released in 1975, consisting of just four long tracks. This is great jazz rock that will appeal to fans of Weather Report and Perigeo.
    $18.00