Conspiracy Theory

Conspiracy Theory

BY Miller, Phil & In Cahoots

(Customer Reviews)
$14.00
$ 8.40
SKU: MJR013
Label:
Moon June Records
Category:
Jazz Rock
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New Canterbury jazz rock session from Phil Miller's In Cahoots sextet. Lots of interesting guests including Didier Mahlherbe, Dave Stewart (for real!), Richard Sinclair and others.

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  • "With 'Home', for the first time since their critically acclaimed 'Posthumous Silence' of 2006, Sylvan have taken the chance to create another full-on concept album. Even though the Hamburg natives attach great importance to creating contextually comprehensive pieces of art with any of their albums, this time around Sylvan have upped their ambition another notch and taken on the mammoth task of building an overall concept around the never ending quest of the human condition for 'home' - that very special place that can provide a feeling of complete safety."This is the deluxe mediabook edition.  Same track listing as the jewel box but in much nicer packaging.
    $17.00
  • Tiger Moth Tales is the working name for British multi-instrumentalist Peter Jones.  Mr. Jones has great facility on all instruments and all the more impressive considering he is blind.  He's also a fine vocalist, having had a run on the British X-Factor competition.Cocoon is a conceptual piece based around the four seasons.  The album has a contemporary sound but there are some obvious old school references.  Genesis, Steve Hackett and Anthony Phillips solo work seems to be an influence as is the carnival elements of Haken.  In many ways I'm reminded of Big Big Train - one would think they drank from the same well.  Take something old and create something fresh.  No metal here although some flashes of heavy guitar now and then which work well against the acoustic bits.  Hackett vs. Phillips.  Not sure what it is about the British prog musicians but every once in awhile they create something that has a certain peaceful, tranquil vibe.  I often refer back to that old "Rain" album.  Long on mood and maybe short on chops.  Here we have the mood but Mr. Jones has injected the chops as well.  Highly recommended.
    $10.00
  • New neo-prog side project from Collage/Satellite drummer Wojtek Szadkowski. The music has a modern sheen with plenty of stunt guitar work from Radek Chwieralski. To these ears the band doesn't sound at all like either Collage or Satellite (which makes sense I suppose - otherwise what would be the point). Some nice wiggly keyboard solos but this is mostly about the guitar.
    $15.00
  • "The amazing thing about Caravan is just how much they recorded for the BBC, whether in radio sessions or live concerts, but even more amazing is that they keep on belting a few sessions every now and then. Released in 2007, TSOOL is yet another one of those release, a double disc affair for that matter, and still no overlapping from sessions and no sessions with doubtful (even if admitted and revealed) origins, such as the Green Bottles For Marjorie release. But if there are no repetition of sessions, I wouldn't exactly say that these recordings are absolutely essential if you already own one or two live records from the For Girls/Stunts era or own the other sessions from the original four.I'm not going to go through all of the tracks, but it's quite pleasant to hear three from their debut album, including a rare Wilde Flowers/Soft Machine stunning tidbits Feelin, Squeezin' from a 71 session. Other rarities are the rarely heard Love To Love You, a vastly different Love Song With A Flute (Sinclair on electric piano) and an unfortunately abridged Grey & Pink track and 9 Ft Underground. The only thing not right about this first CD is the inclusion of a For Girls session. Why didn't they wait for the second dic as there was enough space.That very second disc offering us a bunch of Richardson-era sessions, but not past the Stunts album. Of interest is the Love In Your Eyes with violin and the two new for the New Symphonia gig tracks as well as a For Richard, but most of these can be heard on the Fairfield Hall concert. Hell we even hear Pye answering Geoffrey's great violin runs in For Richard. One of the best versions of Dabsong Conshirtoe is also present on this disc.Surprisingly, these BBC sessions are issued by Decca label instead of the HUX label, which has been handling BBC stuff for the last years. Anyway, those of you reading me for years now know I have a soft spot for Caravan, but this doesn't mean a fanboy and that I'm buying everything from them; quite on the contrary, I tend to be even more difficult with my fave artistes. So when I saw this, I hesitated less than 10 seconds, told myself, WTF and took it home, knowing I'll only have limited mileage on it. While I wouldn't call this essential at all for general progheads, if you're a Caravan fan, this is an absolute must for all of the great surprises." - ProgArchives
    $15.00
  • Let me preface my observations of the CTTE remix by saying that I don’t put these classic albums on a pedestal.  If they can be sonically improved while remaining faithful to the original mix and maintaining musicality and the emotional content then I’m all for it.  In general I liked what Steven Wilson did with the King Crimson catalog.  I was particularly impressed by his reconstruction and resurrection of Lizard.  When I heard he was tackling the Yes catalog I was hopeful because if there was ever a band that could use some sonic wizardry its Yes.  Eddy Offord was never able to bring the magic to their mixes that he was able to give to ELP.So how did Steven Wilson do with CTTE?  I can only use one word to describe the new mix: “transformative”.  CTTE was an album cobbled together from various bits and pieces.  Its widely acknowledged to be the band’s best album (its certainly my opinion) but in terms of sonics it fell victim to the “too many cooks” syndrome.  The original mix was a bit of a mess.  Its all changed now.The one thing that is immediately apparent is the foundation provided by Chris Squire’s bass.  It reaches the pits of hell and if Mr. Wilson is going to take this approach with TFTO and Relayer he’s got my vote.  In general there is a veil of schmutz that has been wiped away.  All the instruments have more clarity and focus in the soundstage.  “I Get Up I Get Down” was chilling.  I found the soundstage consistently extended beyond the boundaries of my speakers.  The mix is warm, involving and there is a balance among the instruments that I found lacking in the original mix - primarily because of Squire’s bass being given a shot of adrenaline.  Jaw dropping stuff.  The bonus track of “America” had exceptional, dare I say audiophile sound.So the obvious question is - what sounds better - this mix or the SACD?  I dunno.  I can’t find my bloody SACD to compare…but here is my memory of the SACD.  When I got it I played it through.  It didn’t overwhelm me or disappoint me.  My thought was “its fine...it is what it is - this is the best it will ever sound in the digital domain”.  I was wrong.  BUY OR DIE!  FORMAT: 1 x CD/1 x Blu-RayCD:1  Close to the Edge2  And You And I3  Siberian KhatruBonus Tracks:4  America5  Close to the EdgeBlu-Ray:Presented in DTS-HD Master Audio– Album mixed in 5.1 Surround– New Album mix– Original Album  mix (flat transfer)– New Album mix (instrumental version)– America original, new & instrumental stereo mixes & 5.1 Surround + further audio extras some exclusive to Blu-Ray edition• Close to the Edge is the first in a series of remixed & expanded Yes Classics• The classic album has been mixed for 5.1 Surround Sound from the original studio masters by Steven Wilson (Porcupine Tree) & is fully approved by Yes.• CD features a completely new stereo album mix by Steven Wilson• CD also features a new mix of America• CD also features an early mix/assembly of Close to the Edge• Blu-Ray features 5.1 DTS-HD Master Audio Surround (24bit/96khz) mixed from the original multi-channel recordings.• Blu-Ray features the new stereo album mix in DTS-HD Master Audio (24bit/96khz).• Blu-Ray also features the original album mix & America in a DTS-HD Master Audio flat transfers from the original master tape source. (24bit/192khz)• Blu-Ray exclusively features instrumental versions of all new mixes in DTS-HD Master Audio stereo (24bit/96khz).• Blu-Ray also exclusively features a needle-drop of an original UK vinyl A1/B1 pressing transferred in 24bit/96khz audio.• Numerous audio extras appear in high-resolution stereo including single edits & studio run throughs of album tracks• Original artwork by Roger Dean who has also overseen the artwork for this new edition• Presented as a mini vinyl replica gatefold card sleeve with booklet containing new sleeve notes, rare photos & archive material.“Close to the Edge” is the first in a series of expanded Yes editions including 5.1 Surround mixes, new stereo mixes & High-Resolution stereo mixes of the original music along with a wealth of extra material. Acclaimed musician/producer Steven Wilson has produced the new mixes with the approval of the band, while Roger Dean reprises his role as art director/designer of the newly issued edition, making this the definitive edition of the album.When Yes entered the studio with Eddie Offord to record the band’s fifth studio album in mid-1972, their second with this line-up, the band was on something of a roll. “Fragile”, the band’s previous album, had taken Yes to a new level of international popularity with Top Ten chart placement on both sides of the Atlantic & yielding a hit single in the USA with ‘Roundabout’. The band was now established in the major music markets to an extent that was, perhaps, unexpected given the complexity of the music Yes performed. But with that popularity came a confidence that the expansive material of the two previous albums could be taken a stage further with the new recording. Rather than consolidating, Yes chose to innovate.Recorded during lengthy sessions at London’s Advision Studios, “Close to the Edge” is that rarity in recorded music, the sound of a band & its individual members writing, playing and recording at the peak of their collective abilities. The album was issued in Autumn 1972 reaching chart highs & platinum sales status of  4 in the UK, 3 in the USA & 1 in Holland, though such statistics only hint at the worldwide popularity of the album over a period of more than four decades. The three pieces of music, the title track which spanned the entire first side of the vinyl album with ‘And You And I’ & ‘Siberian Khatru’ on side two, have remained concert favourites since release, with the 2013 Yes line-up currently in the middle of a world tour stretching into the middle of next year that sees the album performed in its entirety.The album remains the favourite among many of the band’s legion of fans, a defining recording both for the band & for the progressive rock movement. It is also one of the most successful British rock albums ever released.Since this release of “Close to the Edge” was confirmed, the various websites dedicated to Yes, Progressive rock & high-resolution audio have been very active with discussions among fans keen to hear the new mixes & the existing material in its purest audio presentation. 
    $21.00
  • Standard edition comes (at the moment) with a slipcase "o" card wrapper."It’s been quite a past few years for the incredible Anathema. Honors have been bestowed upon them, they’ve released an instant classic album in “Weather Systems”, and last year they released one of the best live concert films I’ve ever seen, “Universal”. Anathema is on top of the world, and they are only getting bigger. With all of this on their shoulders, they approach the world once again with their new album, “Distant Satellites”, a fitting name for a massive album. Again, with all of their recent success creating huge expectations, can this band meet such critical reception? Needless to say, Vincent Cavanagh on vocals, Danny Cavanagh on guitar, Jamie Cavanagh on bass, John Douglas on percussion, Daniel Cardoso on drums, and Lee Douglas with her wonderful vocals were all up to the challenge.“Distant Satellites” is a very different album from “Weather Systems”, or anything else they’ve done, for that matter. It is different, yet somehow instantly familiar. It includes everything that makes them Anathema, but adds new and exciting elements to their already excellent formula. If you’ve never heard Anathema, their formula (in their last few albums, anyways) includes soaring guitars, amazingly catchy melodies, spiritual lyrics, and emotional flow both vocally and structurally. They are the masters of melody, and they remain complex and progressive even while being simple and accessible. They are truly masters of their craft.This new album, then, is no different in those terms. The melodies return in force, such as the serene beauty of “The Lost Song” parts 1-3. And, yet, there is something different here. The melodic lines are somewhat more complex, less in-your-face, and more organic. This especially shows in the song lengths, most of them being over five minutes. This allows for more growth and more progression. Indeed, then, the melodies on “Distant Satellites”, while not being as instantly lovable or recognizable, are certainly more difficult and possibly will have a longer “shelf life” in my mind. Yes, the orchestrations seem to be lower key, as well, allowing the vocalists to express themselves more personally then ever.There are other improvements, too. I feel that the musicianship is more fervent and on a higher plateau of difficulty than Anathema has tried. Drummer John Douglas, especially, plays amazingly well from start to finish, accenting the music with awesome pounding and fills. The rest of the band are at their peak, too, with Vincent and Lee being especially great with emotional and meaningful vocal performances.“Distant Satellites” is different in more meaningful ways, too. Utilizing post-rock/metal structures is nothing new for Anathema, but they really do perfect them here, as on “Dusk”, a dark, climactic song. Yet, there is a sense of continuity between tracks, too. This is obviously the case between the three parts of “The Lost Song”, but it’s also apparent throughout the album, as if Anathema is telling us a story, convincing us of our true selves and our connection with the universe and with each other.This album is wonderful in the first half, but my excitement reached new heights in the second half. Anathema has taken it upon themselves to change things up a bit. They wanted to progress their sound, but make it all seem so natural. So, in the second half, the album climaxes with one of the best songs, simply called “Anathema”. But then, we are thrown for a loop somewhat, as “You’re Not Alone” features a hefty portion of electronic vibe. It’s great, but the best is still to come.Next, “Firelight”, a darkly ethereal instrumental track that is completely electronic, is thrust upon us, and is followed up by what may possibly be the best song Anathema has ever produced, “Distant Satellites”. This track combines everything that has ever made Anathema great: soaring melodies, climactic structure, gentle spirituality, amazing vocals, and now an electronic beat that is both complex and catchy. Vibrant, mesmerizing, and pure, this track elates me every time I hear it. It takes this album, and my heart, to new heights. The album finishes with a gentle ballad that just seems so fitting, yet it still has the strong electronic influence.So, is “Distant Satellites” a winner? In every way! Is it their best album? I don’t know; it has the potential, but it might take time, just like “Weather Systems” did. What I can tell you is that this new album is more mature, more progressive, more interesting and eclectic, and less formulaic then anything Anathema has crafted yet. It does sacrifice some accessibility and some instant likability for these things, but I respect their decision massively, and I fully expect to see “Distant Satellites” at the tops of many lists at the end of 2014." - Progulator
    $9.00
  • Ltd. Deluxe edition including 2 DVDs containing a full live footage (filmed in Cologne), “Behind The Scenes” of the Kaldeidoscope World Tour 2014, band interviews and 3 further live tracks (filmed in Tilburg), 3 CDs containing the recording of the full Tilburg show and a BluRay disc containing the full cologne show and also the “Behind The Scenes”, band interviews and 3 songs of the Tilburg show.Track listing BluRay and DVD: Live in CologneInto The Blue (26:12)My New World (17:29)Shine (07:22)The Whirlwind Medley (29:34)Beyond The Sun (04:24)Kaleidoscope (31:30)Neal & Roine Duet (03:41)We All Need Some Light (05:56)Black As The Sky (08:43)Encore:)Medley: All Of The Above / Stranger In Your Soul (26:06)Track listing DVD: Bonus DVD1. Into the Kaleidoscope (A behind the scenes look at: Kaleidoscope World Tour 2014) (01:21:52)2. Band Interviews (22:31)3. Bonus Live Performances:3.1. Nights In White Satin (Live in Tilburg) (07:46)3.2. Sylvia (with Thijs van Leer - Live in Tilburg) (03:46)3.3. Hocus Pocus (with Thijs van Leer - Live in Tilburg) (07:53)Additional extras: Mike Portnoy vs Neal Morse in "Name That Beatles Tune"Track listing CD 1: Live in TilburgInto The Blue (27:49)My New World (18:28)Shine (07:23)Track listing CD 2: Live in TilburgThe Whirlwind Medley (30:12)Beyond The Sun (04:50)Kaleidoscope (31:30)Track listing CD 3: Live in TilburgNeal & Roine Duet (04:34)We All Need Some Light (06:05)Black As The Sky (07:22)Nights In White Satin (08:09)Sylvia (04:46)Hocus Pocus (07:09)Medley: All Of The Above / Stranger In Your Soul (24:34)
    $45.00
  • "It's the live classic that's waited for three years to happen. Reuniting for a fall 2006 tour to pay tribute to time spent in the mid-'70s fusion juggernaut, the New Tony Williams Lifetime, guitarist Allan Holdsworth and keyboardist Alan Pasqua recruited Yellowjackets bassist Jimmy Haslip and in-demand drummer Chad Wackerman for an exciting cross-section of material that first saw the light of day on a DVD recorded at Oakland's legendary Yoshi's. Now, Blues for Tony takes the best material from that tour and makes it available in CD form, creating an exciting "you are there" double-disc of music that comprises a full evening of music.Holdsworth's classic "Fred," Pasqua's equally iconic "Protocosmos" and Lifetime bassist Tony Newman's energetic "Red Alert" are all there from Believe It, New Lifetime's now iconic first release, but here stretched out with plenty of space for relentless soloing from everyone in the group. The 2006/2007 tours would have a lasting affect on Pasqua, inspiring him to return to higher octane fusion for his solo recordings. On Blues for Tony, he plays with the kind of unfettered abandon and deep sophistication that so defined his work with Williams, a direction he largely deserted for more elegant acoustic outings like 1995's Dedications, from which the darkly balladic "San Michele" is culled, but is here reinvented as a potential fusion classic, with its Mahavishnu Orchestra-like arpeggios, Pasqua's gritty electric piano and Wackerman's thundering kit.In addition to material from Believe It, the group revisits two of Holdsworth's own well-known classics: the change-heavy "Looking Glass," from 1985's Atavachron, and funkier "Pud Wud" from 1990's Sand, the latter opening with an atmospheric unaccompanied solo from Holdsworth that asserts his continued dominance as one of jazz's most harmonically distinctive players, and Haslip's most impressive solo of the set - the perfect confluence of pure virtuosity and in-the-moment melodic composition. Holdsworth's velvety smooth tone is more vocal-like than it's ever been, but equally there's an edge that's reemerged in recent years but has remained undocumented - until now.Wackerman contributes "The Fifth", undisputable evidence that fusion can swing. Easily filling the late Tony Williams' shoes by honoring his spirit rather than imitating him, his playing on Blues for Tony finds the nexus point of spare economy and unabashed power. Pushing "Protocosmos" and the opening section of the collective composition "It Must Be Jazz" with visceral groove, Wackerman also demonstrates, in the latter song's second half, an equal propensity for greater freedom. He works hand-in-glove throughout with Haslip, who may have grown up as a fan of New Lifetime, but is now an unequivocal equal and perfect fit for the group's combination of technical prowess and masterful interplay.Emerging on the British scene in the early 1970s with groups including Ian Carr's Nucleus, Soft Machine and Tempest, Allan Holdsworth's remarkable fluidity and profound vernacular quickly gained international attention, resulting in stints with Jean-Luc Ponty, Gong, UK, Bruford and, of course, Tony Williams. From 1983's Road Games to 2004's Then!, the guitarist has released a string of groundbreaking and essential solo albums that, with their sonic innovations and unmistakable harmonic language, have influenced guitarists worldwide. Since playing in New Lifetime, Alan Pasqua has been a busy session player for over 30 years, working with everyone from Gary Burton, Peter Erskine and John Patitucci to Bob Dylan, Alice Cooper and Santana. He began focusing more heavily on his solo career in the mid-'90s, with albums including 1993's stellar Milagro, 2005's sublime My New Old Friend and 2007's electrifying Antisocial Club.Starting out charting complex territory in Frank Zappa's early-'80s groups, Chad Wackerman quickly became one of Holdsworth's drummers of choice in addition to a busy session career with artists ranging from Barbra Streisand and Bill Watrous to Steve Vai and Andy Summers, and has since built a small but significant discography as a leader, from 1992's Forty Reasons and 1994's The View, both featuring Holdsworth, to recent 2000’s Scream and 2004’s Legs Eleven. Haslip's primary focus has been Yellowjackets, the group he co-founded with keyboardist Russell Ferrante in 1980, but he's also released two albums as a leader and three with the collective supertrio Jing Chi, played with the late Tommy Bolin, Joe Cocker and Rod Stewart, while continues to be an in-demand player with artists including Bruce Hornsby and Terri Lyne Carrington.Blues for Tony brings four masters of their instruments together for an exciting set that may have started with a tribute in mind, but quickly turned into something much more. Fusion at its best, it combines all the prerequisite energy and virtuosity with a deeper language and freer approach, as Holdsworth, Pasqua, Haslip and Wackerman deliver the goods on what will certainly be one of 2009's hottest jazz and fusion releases."
    $18.00
  • Al DiMeola's solo debut from 1976, was released right around the time of RTF's Romantic Warrior. Stellar lineup includes the other three members of Return To Forever, Mingo Lewis, Steve Gadd, Anthony Jackson, Barry Miles, Jaco Pastorius, and Alphonse Mouzon.
    $7.00
  • In the summer of 2014 Nosound were invited to perform at an extraordinary festival - the Starmus Festival held at the Teide Observatory on the island of Tenerife. This unique international astronomy event brought together an array of musical talent including European opera legend Katerina Mina and the legendary Rick Wakeman plus leading figures in contemporary science (with talks from the likes of Brian May, Nobel Prize winners, cosmonauts and Professor Stephen Hawking).It was here that Nosound recorded Teide 2390. Performed and recorded at Starmus infront of an invited audience at an altitude of 2390m, the band played songs from their 2005 debut Sol29, 2008's Lightdark, 2009's A Sense Of Loss and their most recent album Afterthoughts (which Prog Magazine described as, "Extraordinary").Teide 2390 features an audio CD of the full 70 minute set. The DVD-A/V includes standard & HD both in stereo & 5.1 mixes:DVD: stereo 24/48 LPCM, Dolby Digital 5.1 Surround, DTS 24/96 5.1 Surround plus a short film based on Nosound gig, including performances of In My Fears, Fading Silently, Places Remained, Kites, Cold Afterall, plus behind the scenes footage and pictures from the event.DVD Audio: 5.1 Surround 24/96 MLP lossless mixesThe CD/DVD is presented in a deluxe media book with 24 page colour booklet. 
    $16.00
  • "Steve Thorne returns with his fourth album, playing the majority of the instruments bar Nick D’Virgilio (Cirque Du Soleil/ex-Spock’s Beard) and Bob White on drums with Tony Levin and Gary Chandler (Jadis) also guesting. Also former IQ member Martin Orford pops out of musical retirement to play flute on two songs.What I like about Steve Thorne is his strong and topical lyrics, coupled with melodies that transcend the prog rock genre he is often lumped in. A bit like It Bites, Steve Thorne’s music can take in many musical influences to create an entertaining and enjoyable listen.‘Already Dead’ looks at modern culture and how modern technology can turn us into a nation of zombies. Good way to start the album with the heaviest and most aggressive song on the album. ‘Everything Under The Sun’ is a lovely piece of music, albeit rather sad as an older person looks back on their life and realises how alone they are now. The melodic vocal and subdued music add greatly to the song. ‘Distant Thunder’ is the nearest to classic Brit prog rock on the album, whilst Martin Orford’s flute expands the sound of ‘Moth To A Flame’ nicely. ‘Bullets & Babies’ again sees the heavier side of Steve Thorne’s work come to the fore tackling the subject of boy soldiers and how war affects people from an early age.An artist where you can start with any of his albums to date and not be disappointed. As mentioned previously Steve Thorne can appeal to the prog rock fans but also a wider audience who appreciate melodic rock with thought provoking lyrics." - Get Ready To Rock
    $6.00
  • Three Fates Project is a collaborative effort from the Keith Emerson Band and the Munchner Rundfunkorchester conducted by Terje Mikkelsen.  The material is drawn from the ELP catalog but also covered are pieces by Marc Bonilla, Alberto Ginastera as well as Emerson's solo work.  Its an all instrumental orchestral interpretation of the compositions augmented by the Keith Emerson Band.  Surprisingly its rather refined.  Emerson does play a variety of synthesizers but they don't really jump out strongly in the mix, instead piano seems to dominate his playing.  The centerpiece of the album is Tarkus.  Its the track where the band lets their hair down - Bonilla gets a bit heavy handed with his guitar distortion, Emerson gets a bit nuts with the Moog, and the rhythm section goes all Carl Palmer on us.  All in all its a true integration of band and orchestra and not just the band being backed by the orchestra.  I'm not one for mucking around with the classics but this is really tasteful and is a fun listen.  Highly recommended.
    $16.00
  • After Ronnie James Dio split, Blackmore replaced him with Graham Bonnet and brought in his old bandmates Roger Glover to handle bass as well as produce.  Dio's mystical element was gone but the album was rock solid.  Remastered edition.
    $5.00