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Cheap Trick

SKU: EK65572
Label:
Epic/Legacy
Category:
Classic Rock
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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

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  • "As of late, at least with their previous album, and the current Pariah's Child, Finland's Sonata Arctica has been throwing their faithful some musical curve balls. Putting them in the category of traditional Scandi power metal is no longer fitting, although they do play the same and often.No, their sound is much more diverse, enterprising, these days. A good example is the song Half A Marathon Man. It's opening strokes of guitar, keyboards, then drums could lead to most any sound. But it delivers this huge rock grooved melodic metal monster, with hooks galore, from vocals to lyrics to riffs. Then there's the power metal romp of X Marks the Spot, disguised as a rock tune, and wrapped in the motif a religious revival. It's familiar, but strange; clever and a whole lot of fun. Also of note is What Did You Do In the War, Daddy which merges the feel of classic heavy metal anthem with the bluster of power metal in places.Yet something more familiar comes with the longest number, Larger Than Life, which sounds like old school Sonata Arctica, where they draw upon their symphonic progressive power metal roots. Perhaps still more straight forward Sonata Arctica is the first half of the album. Notably The Wolves Die Young or Take One Breath are classic Scandi melodic power metal tunes, straying little from the foundation from which the band was built. Yet, fans should know that it is no less interesting than the aforementioned more crafty pieces. Once more I think Pariah's Child represents Sonata Arctica as a band being carefully faithful to their roots, yet always moving forward in their creativity. Easily recommended." - Dangerdog.com
    $14.00
  • “Known/Learned’ is the third album from this thought provoking progressive band from Brisbane, Australia.  It’s a sprawling 2CD collection of themes and moments, captured between recurring characters. While never explicitly told in the traditional vein of the ‘concept album’, the imagery of Known/Learned depicts fragmented moments in the lives of a father and his daughter, their loss, their love, their journey. A bittersweet love song for life.Occupying a unique place in the Australian progressive music scene, Arcane’s transcendental live performances and 2009’s critically acclaimed, dark and enigmatic concept album 'Chronicles Of The Waking Dream' have earned them a inimitable reputation as one of Australia’s premier progressive rock bands.Sharing stages with artists as diverse as Anathema (UK), Soilwork (Swe), Queensryche (USA), Dead Letter Circus, Ne Obliviscaris and hundreds more, Arcane's live show, often accompanied by a backdrop of staggering visualizations, is a vast sensory experience.Arcane's immersive sound, and the vocals of Jim Grey quickly found favor throughout Australia, headlining the annual Progfest tour, providing touring support for Ne Obliviscaris, and performing to capacity crowds at Sonic Forge Festival in Melbourne. A crowd funding campaign in July, 2013 heralded the 2015 release of 'Known/Learned' a 16 track conceptual double album. Arcane blends the technicality of progressive metal with the atmospheric intensity of bands like Tool, Riverside and Anathema.  The world is about to discover what their Australian fan base already knows – that Arcane is a rising star in the world of progressive music.
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  • After a 10 year absence Enchant are back.  The band started in 1993 making them one of the earliest prog metal band.  Actually they are sort of an interesting band in that they seem to exist in both the prog rock and prog metal realms.  Some metal fans think of them as a bit lightweight and some prog rock fans think they are too heavy!  One thing is for sure they are wildly successful.  This is definitely prog but it never loses sight of the melody.  Fronted by the great Ted Leonard (who is now doing double duty with Spock's Beard) this one is a no-brainer - whether you are metal or prog head.  "irst impressions are the similarities to Spock’s Beard. Hardly surprising since Ted Leonard has been singing with them since 2011. He’s been with Enchant longer; their first CD came out in 1993. And familiarity doesn’t breed contempt here, fortunately.Bay area progressive rockers, they steer a straight course composing guitar-structured songs that they extemporise over. Guitarist Douglas A Ott is also the band’s main producer, with The Great Divide having been recorded at his own studio, but if in the past the band’s followed his direction they’re now more involved after a ten year gap working on other projects. Also, while integral, Ott doesn’t dominate Enchant’s sound but flows in and out adding a hard rock bias to their generic musical flavouring. Drummer/percussionist Sean Flanegan and bassist Ed Platt have the solidity of early Kansas and musically there are some pretty snazzy and often too brief keyboard solos from Bill Jenkins.A rolling cyclical bass line forms the basis of opening number ‘Circles’ with Leonard pondering life going round well, like a circle – while the lyrics aren’t profound they feel right and though this isn’t a concept album, despite the band stating otherwise, there are common themes concerning the human condition in a loosely existential manner. Mainly straight verse and choruses ‘Circles’ breaks out into more complicated time signatures before an acoustic comes to the fore, vocals return, an electric guitar take over and it concludes with a nicely warm keyboard solo. ‘Within An Inch’ follows with a steady rock backbeat over which Ott’s playing echoes Camel’s Andy Latimer interrupted briefly by some John Ellis punk-styled sirening. ‘The Great Divide’ follows suit in a more epic manner, the arrangement akin to Genesis in their golden period.Enchant don’t play with the fairies, despite what their name suggests. If anything they’re two steps removed from an AOR sound leaning in towards early Asia with some latter day Beatles thrown in, and a less grandiose take on Spock’s Beard. One might refer to them as technically proficient rather than emotionally overwrought, meaning there is a heartfelt flavour to their songs, and they tend to grow on you.The subdued opening to ‘Life In A Shadow’ throws a brief curveball echoing the Canterbury sound of Hatfield & The North before a heavy chorded chorus takes this into a rocking tune with soulful harmonies. ‘Deserve To Feel’ pours on the technical drumming and dribbling triplet bass figures with some flashy pyrotechnics predominantly on guitar but with keen keyboard flourishes, moving into a more intricate musical score as Jenkins and Ott trade inspired lines towards its conclusion. Likewise, ‘Here And Now’ builds reflectively moving towards emotional drama.Finely composed, played well, Enchant’s The Great Divide might not have you falling under its spell, but you may well be surprised how you find yourself being drawn to playing it." - The Midland Rocks
    $13.00
  • The Custodian is a new British post-progressive rock band formed by Richard Thomson, vocalist for cinematic death metal band Xerath.  Unlike Xerath, The Custodian is an outlet for the more melodic, rock oriented writing from Thomson.While there are moments in the album that harken back to old school bands like Genesis and Yes, the music of The Custodian is contemporary in sound.  Necessary Wasted Time is an album full of dynamics - light and dark shadings balancing acoustic vs electric, heavy vs pastoral.  While atmospherics and tension are a strong component of the album, the band demonstrates their adept musicianship offering up long instrumental passages to complement the emotion filled vocals.  When needed the band unleashes some complex electric runs.The Custodian's debut should deeply resonate with fans of Steven Wilson, Riverside, Pineapple Thief, and Anathema.Necessary Wasted Time was mixed by noted engineer Jacob Hansen and give the full audiophile mastering treatment from Bob Katz. 
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  • Not sure what needs to be said about this album - I get weepy eyed just thinking about the first time I heard it. One of the greatest progressive rock albums of all time - residing in my all time top 10. The best album Pink Floyd never made. Extraordinary, expansive space rock journeys that will transport you to another place and time. This long awaited remaster comes with two non-lp bonus cuts: "Child Migration" and "Let The Sun Rise In My Brain". Essential listening!!!Please note this disc incorporates EMI copy control technology which seems to allow you to do whatever it is you would normally do with a CD but you can't rip it. Bummer.
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  • My Soliloquy is a British band formed in 2002 by multi-instrumentalist Pete Morten.  Since then the band has released a number of demos, gaining traction in the metal underground. The band had a number of notable support shows with Pagans Mind, Power Quest, Oliver and Rick Wakeman, and Threshold, as well as a second-to-headline set at Bloodstock 05 and a showcase at 2007’s ProgPower UK II.Since 2007, Morten has been an active member of British prog metal legends Threshold.  His membership has raised awareness (and created anticipation) for My Soliloquy’s long awaited debut.The essence of My Soliloquy is pure forward thinking metal – symphonic keyboards, shredding guitar leads, soaring vocals – all finely woven together with a blend of intricacy and melody.  The Interpreter was mixed and mastered by Rob Aubrey who has been a mainstay of Marillion’s camp for many years.
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  • "Massive Addictive won’t do anything to improve Amaranthe’s relationship with their haters, but the diehard fans will fall in love with the band all over again. The vast majority of fence-sitters, meanwhile, will find themselves drawn in by what is, quite frankly, a surprisingly addictive listen that justifies the wonderfully arrogant album title. Still pop metal to the core, Amaranthe’s all-important third album kicks off by putting the fans in the comfort zone with ‘Dynamite’, a track echoing the band’s previous album, The Nexus. It’s the neck-wreck-bounce of the following track and first single ‘Drop Dead Cynical’ – imagine Marilyn Manson’s ‘The Beautiful People’ as a song on the Grease soundtrack – that sets the tone for Massive Addictive. The vocal melodies are infectious to a fault, the riffs are bold, all supported by steel hard backbone seemingly yanked from Hypocrisy frontman Peter Tägtgren’s command center for his industrial-rocked metal outfit Pain.‘Drop Dead Cynical’, ‘Unreal’, ‘Trinity’, ‘Massive Addictive’ ‘Skyline’ and ‘Digital World’ are guaranteed to become fan favourites, charged with more adrenaline than some folks give Amaranthe credit for. There are two ballads to be had this time out – ‘True’ and ‘Over And Done’ – both of them loaded with radio potential and too smart for the suits making programming decisions. The album winds down with the heaviest song of Amaranthe’s career to date, ‘An Ordinary Abnormality’, featuring the sextet pulling out all the stops and crushing any ridiculous notions that pop metal has no balls.It’s nice to hear how Amaranthe avoided disaster by not rehashing the formula of their first two records. Their three-vocalist attack (female, male, cookie monster – in that order) added a certain level of unique from the get-go, but wouldn’t have been enough to make Massive Addictive the sleeper hit it is. This time out, clean singers Elize Ryd and Jake E. show up where you least expect them, harmonizing and trading-off vocal parts more than ever before. And their voices are huge. Case in point on ‘Digital World’ – one of Amaranthe’s strongest songs ever – the exchanges on ‘Unreal’, and Ryd’s vocal nuances and insane range on ‘Danger Zone’. New resident growler Henrik Englund Wilhelmsson (Scarpoint) is a major player on the record rather than merely a hellish enhancement, even taking the lead and stealing the show on ‘An Ordinary Abnormality’. And with guitarist Olof Mörck being one of the primary songwriters, the album boasts riffs and leads by the truckload.What makes the new album work ultimately is the live feel of the music. It’s all well and good to produce polished commercially appealing metal in the studio, quite another to take it out of the can on stage and blow an audience away with a full-on musical performance. Amaranthe have done just that for years, and the material on Massive Addictive is begging to be unleashed live. It’ll go over a storm and then some." - Carl Begai
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  • "Considered to be the some of their finest work since Agents of Fortune , this flight of dark fantasy, which includes the Top 40 hit, Burnin' for You , will satisfy the souls of Cult fans everywhere!"
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  • "Though Cheap Trick's second album, In Color, draws from the same stockpile of Midwestern barroom favorites as their debut album, it was produced by Tom Werman, who had the band strip away their raw attack and replace it with a shiny, radio-ready sound. Consequently, In Color doesn't have the visceral attack of its predecessor, but it still has the same sensibility and a similar set of spectacular songs. From the druggy psychedelia of "Downed" and the bubblegum singalong "I Want You to Want Me" to the "California Girls" homage of "Southern Girls," the album has the same encyclopedic knowledge of rock & roll, as well as the good sense to subvert it with a perverse sense of humor. Portions of the album haven't dated well, simply due to the glossy production, but the songs and music on In Color are as splendid as the band's debut." - AllmusicRemastered with 5 bonus tracks.
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  • I can't remember a buzz on a band's debut since Circus Maximus.  Perhaps due to the album being released in Japan a year ago and its unavailability elsewhere, maybe because they are lined up to play ProgPowerUSA.  Whatever the reason the album finally gets a wide debut and it was worth the wait.  Damnation Angels is a British symphonic metal band fronted by a Norwegian singer.  He goes by the name PelleK and was a contestant on Norway's version of X Factor.  The band's stock in trade is epic sounding metal that pays a huge debt to Kamelot.  The instrumental passages take on the grandeur and scope of Nightwish.  PelleK does a sold job out front - he's obviously listened to a Khan quite a bit.  Highly recommended.
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  • "The band's first live album achieved even greater success and went gold; includes The Subhuman; Harvester of Eyes; Hot Rails to Hell; (Then Came the) Last of May; Cities On Flame; Before the Kiss (A Recap); Maserati GT (I Ain't Got You); Born to Be Wild , and more."
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  • Evergrey are back and better than ever!  I think the general consensus is that as the band became more and more popular the music became a bit more commercial and the production slicker.  Tom Englund has gone back to the basics and its clearly the right move.  Jonas Ekdahl (drums) and Henrik Danhage (guitars) have returned to the fold and production has been handed over to Jacob Hansen.  This is a return to the "classic" Evergrey sound - that perfect balance of melody and heaviness with the right amount of "prog" injected when necessary.  COMEBACK ALBUM OF THE YEAR!  BUY OR DIE!"One of the leading names in the power/progressive metal world is the Swedish five-piece, Evergrey. Forming in 1995, the band has released eight full length albums, with number nine releasing this fall. The band has been known for relatively dark lyrics and concept albums since their debut, and because of this fact, it was very difficult for me to get into their music. I can easily count the amount of times I thought “I should listen to Evergrey” on one hand. Though I wasn’t well versed in their discography, what I had heard was moving quite slowly, was downright melancholic, and just couldn’t catch my attention. That was until the Hymns for the Broken album landed in my inbox.First off, the notable changes in the lineup, with the return of Jonas Ekdahl (drums) and Henrik Danhage (guitar) grabbed my attention immediately. Though the band briefly spoke about the addition of the two previous members on their Facebook, “What can we say? We missed each other.” I truly believe that this decision, and the amazing mixing by Jacob Hansen (Volbeat, Amaranthe, Primal Fear) and production quality are what set this album up for its coming success.The album kicks off with a very eerie intro track, then jumps into the first single and video, “King of Errors”. Even without being an Evergrey fan in particular, I have always known who Tom Englund was, as his voice is so unique and legendary in the industry that I couldn’t ever really escape it. This song is a great display of the power and ability he has as a vocalist to truly bring a wonderfully written song to an entirely new level. The blend of the guitar riffs and keyboard work is perfection to say the least, but when the awe-inspiring guitar solo hit, I knew this album had me by its teeth.Immediately following is another one of the strongest tracks on the album, “A New Dawn” with a strong and hard-hitting guitar and bass riff that doesn’t ever really let go throughout the song. This song features one of the more beautiful keyboard solos on the album, but yet again that guitar solo just comes out of nowhere and destroys any solo I have ever heard this band release. “Black Undertow” is another perfect example of why Englund is so well-respected in the music world. It begins with his chillingly lower vocal range, but builds back up to where he truly shines. This song not only features another soaring and strong chorus, but the rhythm work between all instruments keeps it dark and eerie, though the keyboard lightly dances above it all.The title track to the record explodes into this phenomenal musical intro, but fades just as quickly as it hits. Boasting some of the strongest, most emotional lyrics on the album, the song hits a chord in many personal ways. “Scream loud, these hymns are for the broken,” are just some of this crowd enticing chorus that Englund sings flawlessly throughout. Bringing the album to a close is the over seven minute song “The Aftermath” which begins in a ballad-like fashion, but builds to a very strong finale. The tempo remains slow, but the flawless movement in the instruments keeps it absolutely enthralling. The last half of the song is entirely instrumental, and the conversations between keyboard, bass, and drums is something that I could listen to on repeat for hours, especially when the haunting lead melody soars above it all.If you can’t tell, I can’t think of a single moment on this album I don’t absolutely love. As someone who could never get hooked by an Evergrey album, I can assure you this is not just ‘fandom’ talking. Hymns for the Broken is a perfect album that even after weeks of constant play, I can not get enough of. Perhaps it is indeed perfection, or perhaps it just hit me at the right time in my life, either way I am in love. Easily a current contender for album of the year, it’s so full of beautiful melodies and amazing arrangements that any fan of power or progressive metal will absolutely love. I don’t doubt that all previous fans of the band will appreciate this album as much as I do, but I sincerely hope that new listeners give this record a fair and objective chance as well.This is definitely their most ambitious release yet, and they absolutely nailed it!" - Metalholic 
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  • Deluxe digibook edition with one bonus track.  Please note - other versions will be available shortly."Previewing their tenth album "Beyond the Red Mirror" with the previously-released "Twilight of the Gods" EP, German power-symphonic metal maestros BLIND GUARDIAN capitalize on a long break with an encompassing and magical effort. For "Beyond the Red Mirror", the band worked with three different worldwide choirs from Budapest, Prague and Boston, along with two full-scale orchestras bearing 90 members apiece. The results are as larger-than-life as the band intended, fleshing out a sci-fi and fantasy piece bridged to their 1995 album, "Imaginations from the Other Side".As "Twilight of the Gods" (one of only two songs to clock in beneath five minutes) proved to ring like a broad-scoped, QUEEN-esque musical sonnet, the rest of "Beyond the Red Mirror" is simply massive. Beginning and ending with two epics that roll at 9:29 each, this album plays like BLIND GUARDIAN's reach for a masterpiece, and they practically hit it.You couldn't ask for a more breath-stealing intro with the gusting chorus opening the expansive "The Ninth Wave", a song stuffed as much with electronica buzzes and defined guitar lines as there are swarming voices. Hansi Kürsch, one of the best metal vocalists in the business, is nearly secondary to the enthralling choral tides that introduce and conclude the track. This could've been a near-ten-minute EP unto itself, that's how conclusive and meticulous the song is structured.The decorative harpsichord setting off "Prophecies" is a delicious intro for André Olbrich and Marcus Siepen to plow through successions of IRON MAIDEN-derived chords and marching progressions. Why BLIND GUARDIAN gets away with it is due to the incredible vocal outpourings around them. Again, the majestic theater aspect of QUEEN plays into this track as much as IRON MAIDEN and it's the proficiency behind the delivery that makes "Prophecies" sing instrumentally on top of the wondrous voices around it. Equally enchanting is "At the Edge of Time", which keeps a frolicking back beat and spritely orchestral accompaniment behind Frederik Ehmke's gradual stamp. The delicate measures BLIND GUARDIAN puts behind the thrusting march of "At the Edge of Time" are astonishing to behold, no matter how many symphonic metal albums you've been exposed to.The swift "Ashes of Eternity" gusts on the heels of Frederik Ehmke's fluid pounding, the breezing guitars and Hansi Kürsch's vocals, which toughen to full snarls at times, but never fail to exhale with full conviction. The gorgeous backing vocals add to "Ashes of Eternity"'s tireless drafts. Even more vigorous is "The Holy Grail" thereafter, which does HELLOWEEN and GAMMA RAY proud, much less HAMMERFALL and MANOWAR with its hurricane-speed tale of valor. Let the musical echoes of battle always sound this powerful.The 7:56 "The Throne" is a metal opera unto itself while serving the album's overall goal in sweeping the listener from one riveting plane to another, transitioning the twenty years between "Imaginations from the Other Side" and this album. "The Throne" works a little harder to find its spark as the band and orchestral pieces thicken up the longer the piece rolls, but Hansi Kürsch valorously leads the way and put to the stage, this piece should sound even bigger, so long as all of its recorded parts are presented live.What can be safely assumed is that the album's carnival-esque finale, "Grand Parade" will make it to their live forum. Cited by André Olbrich as the best song BLIND GUARDIAN has ever written, there's substance to this claim as it rolls, romps and cascades with all the gala these guys can load up. "Grand Parade" is a cheerful promenade for much of the ride with a thundering chorus ushering it along until a dramatic change in tone arrives with the first guitar solo, altering the course toward a valiant and clamorous bang. A return to the battle front with power metal thrusts and cinematic orchestration ram the song back to its original celebratory cavalcade for a triumphant finale. Indeed, this is the best song BLIND GUARDIAN has conceived. Phenomenal.With no disrespect intended to their contemporaries, BLIND GUARDIAN delivers symphonic metal of the highest art on "Beyond the Red Mirror". How far these guys have come since "Battalions of Fear" is not only remarkable, it's tremendous. As Hansi Kürsch has described the story behind this album, the red mirror is a representative, lone-standing portal to purported salvation and it must be found at all costs. What BLIND GUARDIAN has found with this album is inspirational and it's inexcusable the Grammy committee has long kept a sightless eye toward these virtuosi of metal music." - Blabbermouth
    $19.00
  • 3 album slipcase set includes: Departure, Escape, and Frontiers.
    $20.00