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  • Perhaps a bit of a rehash (or a further extension) of Leftoverture, it sold like mad back in 1977. Has the played-to-death-even-hear-it-in-elevators hit "Dust In The Wind". This remastered set also has two unreleased bonus tracks.
    $7.50
  • Tenth studio album from the reconstituted verison of Focus led by Thijs van Leer.  Returning is original drummer Pierre van der Linden.  Bobby Jacobs handles bass and Menno Gootjes lead guitar.  X doesn't break any new ground.  This sounds just like classic Focus - van Leer concentrates on flute and Hammond organ and vocals.  Pure prog with strong jazzy overtones in places.  Neat cover art and logo courtesy of Roger Dean.  Highly recommended.
    $9.00
  • "Dancer and the Moon is Blackmore s Night 8th studio album. Despite Ritchie Blackmore s past as a guitar player in Deep Purple and Rainbow, he is now in another stage of his musical life, concentrating on modern Folk, Renaissance and Progressive Rock music. Besides Ritche s incredible talent as aguitar player, the other selling point for Blackmore s Night is vocalist Candice Night, the beautiful wife of Ritchie Blackmore who could be described as a younger, and folkier, version of Stevie Nicks."Deluxe digipak CD/DVD edition.  The DVD features a documentary as well as acoustic versions of 3 tunes that are on the album and one that is not.
    $19.00
  • Great second album from this German underground band.  Trauma was a fine album, but the follow up features a revised lineup and a more mature sound.  The music definitely veered towards the harder side of the progressive spectrum.  Tracks are longer and concepts are more developed.  There seems to be a loosely tied Biblical theme going on.  The album has some beautiful organ work that owes more to Dave Sinclair than Jon Lord.  I do miss the flute/sax work but the guitarwork is subtle and sublime.  Conny Plank produced the album and tied the whole thing together.  One of the great titles from the Brain catalog.  Highly recommended.
    $19.00
  • "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
    $14.00
  • Its been four years since this British ensemble's debut album.  Been a long time coming but there have been a number of personnel changes in the band.  Founding members Alex Crispin (vox/keys) and bassist Dan Pomlett left the band, while guitarist Nicholas Richards switched over to bass.  While the band went through a state of flux their core sound didn't really change a hell of a lot.  Yeah maybe its pared down a bit but it is still steeped in the sounds of the early 70s.  Mellotron, organ and reeds abound.  Guitar is a bit more dominant but still with that retro Vertigo vibe.  Vocals only appear on one track and they are OK.  Think in terms of an instrumental VDGG in a massive jam session with members of Soft Machine and Eloy.  As if!  I will be hard pressed to come across a better progressive rock album released in 2012.  BUY OR DIE!
    $13.00
  • "The title of Even in the Quietest Moments... isn't much of an exaggeration -- this 1977 album finds Supertramp indulging in some of their quietest moments, spending almost the album in a subdued mood. Actually, the cover photo picture of a snow-covered piano sitting on a mountain gives a good indication of what the album sounds like: it's elegant yet mildly absurd, witty but kind of obscure. It also feels more pop than it actually is, despite the opening single, "Give a Little Bit," their poppiest song to date, as well as their biggest hit. If the rest of the album doesn't boast another song as tight or concise as this -- "Downstream" comes close but it doesn't have the same hook, while "Babaji," a pseudo-spiritual moment that falls from the pop mark; the other four tracks clock in well over six minutes, with the closer, "Fool's Overture," reaching nearly 11 minutes -- it nevertheless places a greater emphasis on melody and gentle textures than any previous Supertramp release. So, it's a transitional album, bridging the gap between Crime of the Century and the forthcoming Breakfast in America, and even if it's not as full formed as either, it nevertheless has plenty of fine moments aside from "Give a Little Bit," including the music hall shuffle of "Loverboy," the Euro-artiness of "From Now On," and the "Fool on a Hill" allusions on "Fool's Overture."" - All Music Guide
    $8.00
  • Musician/producer Billy Sherwood has been milking his association with Yes for years. Now he's collaborating with exploitation label Cleopatra Records on a new project. Cashing in all his prog rock street cred in one shot, Sherwood has created a "supergroup" of sorts, although I doubt any of these people were ever in the same room together during the recording of this album. I'll give him credit - its an impressive list of contributors..."The idea of assembling a collection of amazing artists from the progressive rock genre all on one record was an especially exciting concept to me. Inspired, I began writing and recording the 7 songs that would become this album. I then sent those recordings out to some of my friends and musical heroes from bands like King Crimson, XTC, Asia, Gentle Giant, and of course my former band Yes. Soon, I started receiving vocal tracks and guitar and keyboard overdubs from studios all over the world, which I then mixed at my recording studio in Los Angeles. Despite the distances in geography, however, the feeling of the entire production is one of musical and spiritual unity - The Prog Collective! - Billy SherwoodThe biggest super group of Progressive Rock players ever assembled!Features performances by John Wetton (Asia), Tony Levin (King Crimson), Jerry Goodman (Mahavishnu Orchestra), Richard Page (Mr. Mister), Geoff Downes (Yes/Asia), Alan Parsons (Alan Parsons Project), Chris Squire (Yes), Rick Wakeman (Yes), Gary Green (Gentle Giant), Annie Haslam (Renaissance), Steve Hillage (Gong), John Wesley (Porcupine Tree), Tony Kaye (Yes), Colin Moulding (XTC) and more!"
    $15.00
  • First album from this Italian band featured a heavier sound not to far from Deep Purple.  There are prog and psych moves so if you want to call it "proto-prog" you wouldn't be far off the mark.  
    $15.00
  • New 2CD/DVD edition.  Includes bonus tracks, the original mix remastered (better this time), a new stereo mix, and hi-res 5.1 and stereo.The band's second album for Charisma is a dark masterpiece. It features some of their best known material like "Pioneers Over C", "Killer", etc. Robert Fripp makes a prominent appearance as well. This remastered edition comes with new liner notes and photos as well as two great bonus tracks - the 15 minute "Squid 1/Squid 2/Octopus" and the original version of "The Emperor In His War Room". Essential. 
    $33.00
  • Remastered edition with 2 bonus tracks."The best-realized of their classic albums, Every Good Boy Deserves Favour was also the last of the group's albums for almost a decade to be done under reasonably happy and satisfying circumstances -- for the last time with this lineup, they went into the studio with a reasonably full song bag and a lot of ambition and brought both as far as time would allow, across close to four months (interrupted by a tour of the United States right in the middle). Virtually everywhere you listen on this record, the lush melodies and the sound of Michael Pinder's Mellotron (augmented here by the Moog synthesizer and a brace of other instruments) just sweep over the music, and where they don't, Justin Hayward's guitar pyrotechnics on pieces like "The Story in Your Eyes" elevate the hard rocking side of the music, in tandem with John Lodge's muscular bass work -- which still leaves plenty of room for a cello here, and a grand piano there, on top of Ray Thomas' flute, and Graeme Edge's ever more ambitious percussion. "Emily's Song." "Nice to Be Here," and "My Song" are among the best work the group ever did, and "The Story in Your Eyes" is the best rock number they ever cut, with a bracing beat and the kind of lyrical complexity one more expected out of George Harrison at the time. Sad to say, the group would never be this happy with an album again -- at least not for a lot of years -- or with their commitment to being a group, though they would leave one more highly worthwhile album before taking a hiatus for most of the rest of the 1970s." - Allmusic
    $7.50
  • New electric band effort from Mr. Hackett was long overdue. Wild Orchids marks the return of keyboardist Nick Magnus to the fold. The rest of the band are the cats that Steve has been recording and touring with for years now but there are augmented by the "Underworld Orchestra". The music has a subdued laid back vibe but of course we get those trademark withering solos that are unmistakably pure Hackett. Some world music influences creep into the mix in spots reminding of Peter Gabriel's solo work, while other tracks evoke the feel of Please Don't Touch. One curious inclusion is a cover of Bob Dylan's "The Man In The Long Black Coat" - Steve slays on it but...
    $11.00
  • "Progressive rock and boy-band pop seem like natural enemies at first. The former's fascination with ornate, elongated passages of finger-exhausting musicianship is in almost every way the opposite of the latter's emphasis on catchiness first; it's hard to imagine turn-of-the-millennium hits like "Bye Bye Bye" with extended guitar and keyboard solos. Yet ever since A Doorway to Summer, their 2005 debut, Moon Safari has put to rest the notion that progressive-minded songwriters can't make pop that's as hook-driven as it is ostentatious. Grandiloquent epics like "Other Half of the Sky," from the 2008 double album Blomljud, weave together widescreen arrangements with the band's signature five-part vocal harmony, a feature unmatched by few groups in any genre, anywhere. It's easy to isolate the audience with solipsistic soloing and obtuse orchestrations, but from day one Moon Safari has made prog that—assuming the layperson were more amenable to songs that run upwards of thirty minutes—could lead them to something like a pop crossover hit.But while the union of hook-heavy vocal interplay and '70's prog stylistics gives Moon Safari an unmistakable, unique sound, it also handicapped them in a significant way for their first two LPs. The group's accessibility on A Doorway to Summer and Blomljud, along with its technical prowess, is unassailable, but the high-fructose sweetness of its style leads to a diabetic rush when stretched out onto songs that span ten to thirty minutes. For example, "Other Half of the Sky," the titanic thirty minute showstopper off of Blomljud, has so many memorable hooks that by the time it's run its time out, it's hard to remember all of them. The classic problem of "too many voices leads to a noisy room" was the defining problem of Moon Safari's otherwise enjoyable sound for some time. All that changed, however, in 2010 with the release of Lover's End.It is no exaggeration—even as the decade remains young—to say that Lover's End is one of the finest progressive rock records of the '00's. Hell, it's not even crazy to say that it's one of the finest pop albums of the '00s; anyone, even those turned off by prog's eccentricities, can find something to love on this mellifluous collection of songs. From the a cappella charm of "Southern Belle" to the hook-loaded "New York City Summergirl," Lover's End is chock full of goodness from beginning to end. What explains its genius is that in contrast to A Doorway to Summer and Blomljud, the songs are given exactly the amount of space they need, and not a second more. Some songwriters may feel hamstrung by the verse/chorus structure, but it's a perfect fit for Moon Safari's joyous approach to music.With their newest studio outing, Himlabacken, Vol. 1, Moon Safari continue the refining of their sound, and while this isn't the breakthrough that Lover's End was, it nonetheless attests to the brilliance of this group. Whereas the latter was bound by a loose concept (love and heartbreak), Himlabacken Vol. 1 is less a lyrics album than its predecessor. The cost of this is that the music is less distinct in its cohesiveness, but there are no shortage of catchy passages and amped-up solos. "Mega Moon" comes off as a tribute to musical theatre, with "The Very Model of A Modern Major General" vocal delivery interweaving with Queen-esque bombast to an impressive effect. "Too Young to Say Goodbye" sees and matches the polyharmonic beauty of "Lover's End (Part One)." By sticking to concise song formats—the longest cut here runs nine and a half minutes—Moon Safari ensures that things never run out of steam, an essential quality to any good progressive rock band.If nothing else, Himlabacken, Vol. 1 proves that there's one thing Moon Safari can't be accused of: being unaware of themselves. Grand finale "Sugar Band" is as much a statement of identity as it is a slice of epic pop: "Sweet and saccharine are we," they declare, followed by "syrup's the blood in our veins." (Less successful is the clumsy Katy Perry innuendo of, "suck our big candy canes," which is thematically consistent but tonally off.) Both "Sugar Band" and "Little Man," one of the few Moon Safari songs to feature a solo vocal, are emblematic of the mushiness that might turn some prog fans away from their music. The latter, while obviously a touching document of a father's love for his son, does feel a bit out of place in how deeply personal it is; part of the strength of this group's sonic is the universality of its pop appeal, and the intimacy behind "My Little Man" makes listening to it an almost voyeuristic experience. "Mega Moon" and "Sugar Band" are better at capturing the convivial spirit of the band that's accessible to all.As with past outings, even those drawn to vocal harmonies might find it hard to stomach all of the sweetness of Himlabacken, Vol. 1. But what ultimately makes this LP successful is its unpretentious commitment to fun. Moon Safari are a rare collective that prove daunting musical chops aren't anathema to accessibility, and with Himlabacken, Vol. 1 they've made a recording that, while not the magnum opus that Lover's End was, is as true a capturing of their ethos as there could ever be. Sating a sweet tooth brings to mind the phrase "guilty pleasure," but there's no guilt involved with music as first-class as this. Who knew being in a boy band could sound so classy? " - Sea Of Tranquility
    $14.00
  • Oh so you say you want to get fancy?  How about the CD/DVD digipak edition?  The bonus DVD comes with live footage from the recording of the album as well as interviews.Second studio album from what may be the ultimate chops band.  Guthrie Govan (guitars), Bryan Beller (bass), and Marco Minnemann (drums) turn it up an notch further.  Everything is set to 11 on this one. Lots of notes flying around and different styles as well - on "Louisville Stomp: I'm hearing some cool country style pickin' from Guthrie Govan that is welcome and unexpected.  He sounds like the second coming of Danny Gatton.  Other tracks are a non-stop shredfest - that's what the Aristocrats are all about.  Highly recommended.
    $27.00