Brothers And Sisters ($5 SPECIAL)

"Brothers and Sisters, the Allman Brothers Band's first new studio album in two years, shows off a leaner brand of musicianship, which, coupled with a pair of serious crowd-pleasers, "Ramblin' Man" and "Jessica," helped drive it to the top of the charts for a month and a half and to platinum record sales. This was the first album to feature the group's new lineup, with Chuck Leavell on keyboards and Lamar Williams on bass, as well as Dickey Betts' emergence as a singer alongside Gregg Allman. The tracks appear on the album in the order in which they were recorded, and the first three, up through "Ramblin' Man," feature Berry Oakley -- their sound is rock-hard and crisp. The subsequent songs with Williams have the bass buried in the mix, and an overall muddier sound. The interplay between Leavell and Betts is beautiful on some songs, and Betts' slide on "Pony Boy" is a dazzling showcase that surprised everybody. Despite its sales, Brothers and Sisters is not quite a classic album (although it was their best for the next 17 years), especially in the wake of the four that had appeared previously, but it served as a template for some killer stage performances, and it proved that the band could survive the deaths of two key members." - Allmusic Guide

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  • In Crescendo is the fourth studio album from this Italian progressive band.  While originally working in a purely metal direction, the band has expanded the scope of their sound to encompass elements of progressive rock as well.  There is a very strong atmospheric component similar to Riverside, Porcupine Tree, and Pink Floyd but the heavier, metallic side of Opeth and Dream Theater is clearly present as well.Over the past two years Kingcrow has expanded their fan base with a European tour in support of Redemption and Jon Oliva as well as appearances at ProgPower Europe and ProgPower USA.  An announcement about 2013 US tour dates is imminent. 
    $13.00
  • "Next is the third album by Journey and was released in 1977.Journey continued the formula from 1976's Look into the Future but this album also retains some of Journey's progressive rock style from the first album."
    $5.00
  • The DVD features the new video for lead track ‘Drive Home’ along with the video for ‘The Raven That Refused To Sing’, both directed by Jess Cope. It also includes four tracks recorded live in Frankfurt during the recent tour.  In addition, the DVD features audio recordings of two previously unreleased tracks, ‘The Birthday Party’ and an orchestral version of ‘The Raven That Refused To Sing’.‘The Birthday Party’ was recorded in the LA at the same sessions as the tracks that made up the album while the version of ‘The Raven That Refused To Sing’ is a new mix that strips the track back to just the orchestra and vocals. These tracks are also featured on the CD, along with the audio from the live tracks and an edit of ‘Drive Home’. The set is packaged in a ‘mini-LP’ sleeve pac.
    $16.00
  • "Stanley and I had been working together for some time before we made this record. We often talked about the possibility of recording an album together and Epic agreed to let us do it. The interesting thing about this record is that it is a power trio record. Stanley and I decided right away that this record would live or die by us; that we had to be the focus of this record; not the orchestration, not the background vocals, etc. The music had to emanate from us and by us, and that would make it unique. Stanley and I decided to make a totally different record from what the record company expected. We felt we had to stretch the boundaries. I'm sure Epic thought they were getting a fusion jazz record; But Stanley had played all the Return To Forever music he cared to by this time.The largest surprise for Epic was the song we chose as our first single from the record, "Sweet Baby." In fact they fought us on this track. The R&B department said it was too white and there was nothing they could do with it. The pop department said we were black artists with a white record and that they didn't have the time to promote this record at pop radio. So Stanley and I went to an independent promotion firm (Cliff Gorov) to push this record, and in essence bypass CBS. Well, needless to say, when the record began to make some noise, CBS jumped in as if they were there all along and brought the record home.I wrote "Sweet Baby" while looking over the water one afternoon in Berkeley, California while we were already in session for the project. It was written very quickly, and I called Stanley, who was in the room next to mine, and told him to come over and listen to this little pop song. I thought he would hate it, but just the opposite happened. We went in the next day and recorded it and the rest is history. To date, it is my largest across the board hit record. I finally made the top ten pop charts, WOW!We chose John Robinson as our drummer because of his strong steady approach to rhythm. He was with Rufus and layin' it down real hard. He was perfect!!Stanley and I were constantly on the road, doing television shows, or whatever. I broke up my band during this period and everyone went their separate ways. One thing I should mention that meant so much to me during this period, was a congratulatory phone call from Quincy Jones. After we hit the top ten, Q called me just to say "a job well done" I'll never forget that gesture on his part. "Q, I'll always love ya!!"Don't ask me why we did so much singing, but we did!! We wanted to make an instrumental record with vocals as a vehicle to communicate. Besides, instrumentals were not and still are not played on top radio formats. We went after this one and were fortunate to realize our dreams. We became R&B/Jazz/Pop stars for a moment. This LP also became the vehicle for my first video. Actually, it spawned three videos. I can remember that Stanley and I were extremely upset that MTV would not play any of our videos because we were black artists. I guess they can't be accused of that now! Oh yeah, we got a Grammy Nomination, but lost. It was 1981." - George Duke
    $8.00
  • ""RUSH: CLOCKWORK ANGELS TOUR" was filmed and recorded last November at the American Airlines Arena in Dallas, Texas, during Rush's highly successful Clockwork Angels Tour. The eleven month-marathon world tour crossed North America twice and ventured overseas to Europe in support of the band's acclaimed 2012 studio release "CLOCKWORK ANGELS."In capturing the tour's electrifying three hour set, "RUSH: CLOCKWORK ANGELS TOUR" pairs Rush classics ("Tom Sawyer," "The Spirit Of Radio," "2112"), with a nod to the 80's Rush era (The Analog Kid," "Territories," "Subdivisions") alongside newly reworked arrangements specifically for the tour featuring the Clockwork Angels String Ensemble ("Headlong Flight," "YYZ," "Red Sector A"). The string section marks the first time the trio has brought additional musicians on the road with them. To showcase their latest studio release, the epic set list also features nine tracks off "CLOCKWORK ANGELS." Other highlights include tracks rarely performed and never before recorded live ("The Body Electric," "Middletown Dreams"), in addition to three separate drum solos by the incomparable Neil Peart."
    $22.00
  • "There is plenty of excellent melodic Metal to come out of Italy; RHAPSODY OF FIRE, TRAGODIA and ELVENKING, but upon closer inspection of the more progressive side of the scene, we have a band like CHRONOS ZERO. An ambitious project with grand lyrical and musical aspirations, they have finished their debut piece, “A Prelude to Emptiness”, and it is by no means empty. The thing I love about brand new modern bands is how I'm always surprised at the sheer quality of the debut release, and this band is no exception. They adapt Progressive Metal from the masters such as SYMPHONY X and NEVERMORE, add the melodic flourishes of KAMELOT and an aggressive, yet melodic singer such as Gustavo of ADAGIO.The album has one monster of an opening track in “Spires”, which is completely instrumental, but is unrelenting in progressive riff artillery, not so dissimilar to MESHUGGAH in heaviness. Woven under this neck-snapping guitar playing is innovative, high-end bass playing and foreboding keyboard atmospherics. The MESHUGGAH vibe is noticeably carried on in “Breath of Chaos”, where the mixing of the extremely down-tuned bass adds a much deeper dimension to the album's already crunchy guitar work. The particular riff that characterises most of this song instantly made it one of my favourite tracks on the record. Here we also first hear a taste of the vocals, and it appears to take great skill to pull off a convincing combination of aggressive raucousness and grasp of melody, and the hitting of high notes, which Gianbattista does unquestionably. In addition, there are also featured seductive female vocals, which add a further, interesting dimension to the already-deep music.Parts I and II of “Lost Hope, New Hope” are exemplary of true progression in heavy metal music; two parts to a story, they are both very different, but intelligently interwoven tracks. Part 1 is very much so up-tempo and more aggressive, thrashing about that glorious riff sound I have come to love from this band, and experiences sudden mood swings to jazzier, quieter sections; here, the neo-classical influences are shining throw, as does a blistering guitar solo. Part II contains no vocals, but leans much more to the atmospheric side, but contains even more complex riff mastery, the sheer heaviness and stunted rhythm of which is brain-addling.  “Sigh of Damnation” marks a subtle change to a more melodic sound, dominated by a greater presence of interwoven male and guest female vocals, and the range of the main vocalist is fully explored here, proving that he is most capable of tender pieces in addition to his powerful bellows. The final track, “Sorrowful Fate”, begins with an effective minor scale acoustic trill, and features almost solely female vocals by Claudia; it is about time she and her beautiful voice had almost a whole song to itself. Expectedly, yet unexpectedly, it features a drastic change from a settled, yet foreboding sound, to an explosive and punching beat down, characterised by a further, small performance from Gianbattista, perhaps hitting his most powerful notes yet.I found this an extremely enjoyable album to listen to. An issue that sometimes brings down some Prog albums is the overuse of instrumentals, but I found this to not be the case, because of the sheer musicianship purveyed here. This is exactly what I look for in Progressive Metal." - Metal Temple
    $13.00
  • Its been almost 4 years since the band's phenomenal debut.  Since that time the duo of Mariusz Boniecki and Marcin Kledzik have expanded into a live gigging quartet.  I'm pleased to say that in terms of their music the band has not lost any momentum.  The same influences are still present - you will hear the imprint of Porcupine Tree and King Crimson.  The title of the album is a bit of a giveaway - this is not uplifting music.  It is filled with noir-ish, melancholy atmosphere.  Emotion filled vocals ride on top of Crafty guitarwork.  The technicality is there but you have to listen for it.  Think of a head on collision between In Absentia and Discipline and then take it one step beyond.  Clearly Pinkroom does it again.  BUY OR DIE!
    $13.00
  • Album number 14 from the premier American symphonic rock band.  Steve Babb and Fred Shendel mix up the deck a bit with different cast of characters but the core sound remains intact.  If you are unfamiliar with Glass Hammer what you need to know is that Steve and Fred have assimilated the best elements of 70s US and Euro prog and melded it into something fresh.  Vocalist Jon Davison sounds so much like Jon Anderson that he was actually poached by Yes!  This is lush symphonic rock with killer keys.  Think in terms of Yes, Kansas, ELP, and Gentle Giant and toss 'em in a blender.  That's the Glass Hammer sound.  Lots of interesting guests this time around.  Old GH alumni Walter Moore and Michelle Young make and appearance.  Higher profile guests include Randy Jackson (Zebra - not American Idol!), David Ragsdale (Kansas), and Rob Reed (Magenta).  Another triumph from the good old southern boys of prog.  Highly recommended.
    $12.00
  • Remastered edition. Although it's not my personal favorite of the Camel canon (that would probably be Mirage or Moonmadness) it is probably their most popular. This amazing long conceptual work is augmented by 5 bonus cuts.
    $9.00
  • "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
  • "Dream Evil is by no means a departure from the Dio formula that was so successful for his first three solo albums. All of the elements that made them so successful are yet again retained here. However, what makes things different this time around is that Dio has more of a melodious side to him, which he puts use here rather than relying on the riffs and delivery he learned at the school of Sabbath. He even touches on the power ballad (a sure sign that the style had fully infiltrated metal) with "All the Fool Sailed Away." The title track and "Sunset Superman" also proved to be two of Dio's most well-known, and most loved songs in his massive catalog. Not an essential release, but one that diehard fans will be sure to want in their collection." - All Music Guide
    $5.00
  • Steve's first studio album in some time arrives as a limited edition import with a bonus CD with his running through live versions of old Genesis tunes and solo material. The new album features Chris Squire and Anthony Phillips (believe it or not). The thing I love about Hackett's recent work is that it still clearly has his imprint on it but its not retro - its prog and contemporary.
    $15.00
  • "The allure of This Misery Garden might be found in their name. A garden is a place of beginnings and endings, of life and death, with the eternal element of hope also fixed upon it. Yet, misery can describe any of these appointments as well. On their debut work, Another Great Day on Earth, This Misery Garden explores both hope and despair with each swelling and rising within the progressive compositions. The title itself is also reflective of their musical and lyrical tone even as it bends in upon it's own cynicism. This Misery Garden's atmosphere and content is dark, deep, and often foreboding layers of melancholy with songs such as Swan Song, Rejection Song, the carefully betraying Instant Recoil and Dirty Playground being disturbing representatives. Between the eerie and introspective movements, This Misery Garden weaves thick threads of bleak chords over a dark rock resonance. If visions of Katatonia or Perfect Circle, possibly even Tool, invade your audio experience as you listen, then you will have a sense of Another Great Day on Earth foundations. For some, myself included, Another Great Day on Earth may be too despondent for an immediate repeat listen, but it does require significant and repeat attention to plumb the depths of its sophisticated portrait of hope and despair." - Dangerdog
    $3.00
  • "With Billion Dollar Babies, Alice Cooper refined the raw grit of their earlier work in favor of a slightly more polished sound (courtesy of super-producer Bob Ezrin), resulting in a mega-hit album that reached the top of the U.S. album charts. Song for song, Billion Dollar Babies is probably the original Alice Cooper group's finest and strongest. Such tracks as "Hello Hooray," the lethal stomp of the title track, the defiant "Elected" (a rewrite of an earlier song, "Reflected"), and the poison-laced pop candy of "No More Mr. Nice Guy" remain among Cooper's greatest achievements. Also included are a pair of perennial concert standards -- the disturbing necrophilia ditty "I Love the Dead" and the chilling macabre of "Sick Things" -- as well as such strong, lesser-known selections as "Raped and Freezin'," "Unfinished Sweet," and perhaps Cooper's most overlooked gem, "Generation Landslide." Nothing seemed like it could stop this great hard rock band from overtaking the universe, but tensions between the members behind the scenes would force the stellar original AC band to split up after just one more album. Not only is Billion Dollar Babies one of Cooper's very best; it remains one of rock's all-time, quintessential classics." - All Music Guide
    $5.00