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  • "The Jefferson Airplane opened 1967 with Surrealistic Pillow and closed it with After Bathing at Baxter's, and what a difference ten months made. Bookending the year that psychedelia emerged in full bloom as a freestanding musical form, After Bathing at Baxter's was among the purest of rock's psychedelic albums, offering few concessions to popular taste and none to the needs of AM radio, which made it nowhere remotely as successful as its predecessor, but it was also a lot more daring. The album also showed a band in a state of ferment, as singer/guitarist Marty Balin largely surrendered much of his creative input in the band he'd founded, and let Paul Kantner and Grace Slick dominate the songwriting and singing on all but one cut ("Young Girl Sunday Blues"). The group had found the preceding album a little too perfect, and not fully representative of the musicians or what they were about, and they were determined to do the music their way on Baxter's; additionally, they'd begun to see how far they could take music (and music could take them) in concert, in terms of capturing variant states of consciousness.Essentially, After Bathing at Baxter's was the group's attempt to create music that captured what the psychedelic experience sounded and felt like to them from the inside; on a psychic level, it was an introverted exercise in music-making and a complete reversal of the extroverted experience in putting together Surrealistic Pillow. Toward that end, they were working "without a net," for although Al Schmitt was the nominal producer, he gave the group the freedom to indulge in any experimentation they chose to attempt, effectively letting them produce themselves. They'd earned the privilege, after two huge hit singles and the Top Five success of the prior album, all of which had constituted RCA's first serious new rock success (and the label's first venture to the music's cutting edge) since Elvis Presley left the Army. The resulting record was startlingly different from their two prior LPs; there were still folk and blues elements present in the music, but these were mostly transmuted into something very far from what any folksinger or bluesman might recognize. Kantner, Jorma Kaukonen, and Jack Casady cranked up their instruments; Spencer Dryden hauled out an array of percussive devices that was at least twice as broad as anything used on the previous album; and everybody ignored the length of what they were writing and recording, or how well they sang, or how cleanly their voices meshed. The group emerged four months later with one of the rawest, most in-your-face records to come out of the psychedelic era, and also a maddeningly uneven record, exciting and challenging in long stretches, yet elsewhere very close to stultifyingly boring, delightful in its most fulfilling moments (which were many), but almost deliberately frustrating in its digressions, and amid all of that, very often beautiful.The album's 11 songs formed five loosely constructed "suites," and it didn't ease listeners into those structures. Opening "The Ballad of You and Me and Pooneil" (a Kantner-authored tribute to Fred Neil) amid a cascading wash of feedback leading to a slashing guitar figure, the band's three singers struggle to meld their voices and keep up. A softer, almost folk-like interlude, highlighted by Slick's upper-register keening, breaks up the beat until the guitar, bass, and drums crash back in, with a bit of piano embellishment. Then listeners get to the real break, an almost subdued interlude on the guitars, and a return to the song at a more frenzied pitch, the guitar part dividing and evolving into ever more brittle components until a crescendo and more feedback leads to "A Small Package of Value Will Come to You, Shortly." This brilliantly comical and clever percussion showcase co-authored by Spencer Dryden and the band's manager, Bill Thompson, is a million miles beyond any drummer's featured number in any popular band of that era, and it leads into Marty Balin's "Young Girl Sunday Blues," the most rhythmically consistent song here and one of a tiny handful of moments that seem to slightly resemble the band's past work. The aforementioned tracks comprise just the first suite, designated "Steetmasse.""The War Is Over" suite opens with "Martha," the album's folk-style interlude, almost a throwback to the group's original sound, except that the listener suddenly finds himself in the midst of a psychedelic delirium, heralded by the dissonant accompaniment and a high-energy fuzztone guitar solo (spinning out sitar-like notes) coming out of nowhere and a speed change that slows the tempo to zero, as though the tape (or time, or the listener's perception of it) were stretching out, and the pounding, exuberant "Wild Tyme," a celebration of seemingly uninhibited joy. "Hymn to the Older Generation" is made up of Kaukonen's "The Last Wall of the Castle," an alternately slashing and chiming guitar pyrotechnic showcase that rivaled anything heard from Jimi Hendrix or the Who that year, and Grace Slick's gorgeous "Rejoyce," a hauntingly beautiful excursion into literary psychedelia, whose James Joyce allusions carry the Lewis Carroll literary allusions of the previous album's "White Rabbit" into startlingly new and wonderful (if discursive) directions and depths. "How Suite It Is" opens with the album's single, the lean, rhythmic "Watch Her Ride," whose pretty harmonies and gently psychedelic lyrics persuaded RCA that this was their best shot at AM airplay and, true to form on an album filled with contradictions, it leads into "Spare Chaynge," the crunching, searing, sometimes dirge-like nine-minute jam by Kaukonen, Dryden, and Casady that wasn't ever going to get on AM radio -- ever -- and, indeed, might well initially repel any Airplane fan who only knew their hit singles. "Shizoforest Love Suite" closes the album with Slick's "Two Heads," with its vocal acrobatics and stop-and-go beat, and "Won't You Try"/"Saturday Afternoon," the latter Kantner's musical tribute to the first San Francisco "Be-In" (memorialized more conventionally by the Byrds on "Renaissance Fair"); it features many of the more subdued, relaxed, languid moments on the record, divided by a killer fuzz-laden guitar solo.Needless to say, this is not the album by which one should start listening to this band -- "Spare Chaynge" remains an acquired taste, a lot more aimless than, say, the extended jams left behind by the Quicksilver Messenger Service, though it did point the way toward what Kaukonen and Casady would aim for more successfully when they formed Hot Tuna. But most of the rest is indisputably among the more alluring musical experimentation of the period, and Kantner's "The Ballad of You and Me and Pooneil" and "Watch Her Ride," as well as Balin's "Young Girl Sunday Blues," proved that the group could still rock out with a beat, even if not so prettily or cleanly as before. [After Bathing at Baxter's was represented poorly on CD until 1996, when it was finally reissued in an upgraded edition, which was later deleted and was only available as part of the bizarre 2001-vintage Ignition box. It has since been remastered again, with very important, downright essential bonus tracks, as of 2003. Additionally, After Bathing at Baxter's was the last Jefferson Airplane album to appear in a mono version, which sounds very different than the more common stereo mix, and has yet to show up on CD." -All Music GuideRemastered edition with bonus tracks. 
    $7.50
  • I can't speak for their later albums (since I never heard them) but the band's early work for Bellaphon was very well crafted classical progressive rock.“Pell Mell – The Entire Collection“, the complete work of Germany’s most famous classic rock band around violin devil and bandleader Thomas Schmitt is being published now like never before - in a sophisticated package bearing vaporized gold foil. The collection contains seven albums on four compact discs, five by Pell Mell and two of their follow-up Skyrider covering the complete period from 1971 until 1981 which is the era of “Deutschrock” from beginning to end. It took more than a year’s work, a lot of commitment and a great deal of energy to clear the rights, gather all tapes and material. The collection presents the original albums of symphonic rock along with their own compositions and superb singing. Both critics and audience were filled with enthusiasm by the familiar classical themes and motifs reworked by Pell Mell in their own typical style. A premiere to be heard is the “late” version of “Die Moldau” from 1981 in the correct key and tempo – which has never been released in this form because of a mistake in the first recording. Except for two parts by guest musicians, Thomas Schmitt is playing all instruments - like Mike Oldfield did in a way. A little sensation is the album “Skyrider 2” – not only has this rare gem never been released before but also marks the musical highlight of the development of the exceptional artist Thomas Schmitt. All material has been thoroughly digitally remastered. A 24 page booklet with unpublished photos and new liner notes by Cornelius Hudalla completes the package. Hudalla has not only taken great part in putting this collection together but as the former manager and producer of two of these albums possesses unsurpassed insider knowledge. We wish to stress the high value of this box and the high standards of the band Pell Mell. This CD-box has been registered by GEMA as “art” or “classical music” and is limited to 1.000 units worldwide.  CD 1 „Marburg“ & „From The New World”01. The Clown And The Queen 08:5102. Moldau 05:3003. Friend 07:1104. City Monster 08:4205. Alone 09:2606. From The New World 16:0307. Toccata 04:0408. Suite I 08:0209. Suite II 11:24      CD 2 „Rhapsody“ & „Only A Star”10. Frost Of An Alien Darkness 09:2111. Wanderer 02:3212. Can Can 03:3713. Prelude 03:1714. Desert In Your Mind 06:1715. The Riot 06:0716. Paris The Past 08:0717. Count Down 04:5218. Daydreamer 04:3419. Only A Star 04:2020. Across The Universe 06:1421. Disillusion 08:4322. Trailors In Movie Halls 03:4423. Phoebus Is Dead 07:11      CD 3 „Moldau”24. Moldau Part One 05:3525. The Farmers Wedding 03:2826. The Nymph Dance 03:1827. Moldau Part Two 07:4428. Gliding 02:4129. Dark Valley Part One 03:3230. Dark Valley Part Two 02:2331. Dark Valley Part Three 04:3332. Dark Valley Part Four 04:39      CD 4 „Skyrider” & Skyrider 2”33. On My Line I 00:1834. Skyrider 02:0835. Great Beautiful Crime 04:3036. Time Of The Season 04:0737. Written On A Granite Hill 03:5138. I Don`t Wanna Leave You Now 04:1339. On My Line II 04:0340. Up To Sky 03:0541. Love`s In My Eyes 03:4342. Save Two Birds 05:0743. Fighter Of The Sun 04:0344. Looks Like Rain 04:4245. Loadie 04:2846. Rock'n'Roll On The Highway 03:0547. Broken Harmony 06:2748. Right In Your Hands 04:3349. Song For Rosalie 03:5250. Hello Angel 03:5851. I'm In Love 03:4952. Heart On Ice 04:06
    $55.00
  • DeEvolution tells the story of an elite group of leaders from a heavily industrialized city who find, brainwash and then exploit an indigenous tribe’s shaman, believing he would be the perfect supreme leader. By propping him up as possessing all the answers to societies ills the elites use him in order to gain and keep more control over the masses. They plan to influence the masses on several fronts: Religion, Media, Consumerism, and Government.Twin brothers, Jasun and Troy Tipton along with Erik Rosvold released two albums with the Progressive-Metal act Zero Hour. The band's second album "The Towers of Avarice" won sparkling reviews from nearly every metal magazine around the World and has achieved classic status among prog metal fans. Zero Hour successfully toured Europe and performed twice at Prog Power USA, the largest prog-metal music festival in the World. In 2003, fans were disappointed when Zero Hour parted ways with Erik Rosvold.In late 2007, Jasun began writing material for Cynthesis. As the music developed Jasun could only imagine one vocalist to really connect to the material. After one phone call both Jasun and Erik were very excited to work together again.The final piece of the puzzle was to find an amazing drummer. Jasun asked Troy what drummer he would like to work with. Without any hesitation Troy said, "Sean Flanegan is the guy". Sean is best known for his work with the Progressive Rock band, Enchant (Blink of an eye & Tug of War).Produced by Dino Alden, DeEvolution is the first of a projected series of albums from this reunited force of progressive metal.
    $8.00
  • 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. 
    $5.00
  • "The posthumously assembled ten-track outtakes collection The Sky Is Crying actually proves to be one of Stevie Ray Vaughan's most consistent albums, rivaling In Step as the best outside of the Greatest Hits collection. These songs were recorded in sessions spanning from 1984's Couldn't Stand the Weather to 1989's In Step and were left off of the LPs for whatever reason (or, in the case of Soul to Soul's "Empty Arms," a different version was used). What makes the record work is its eclectic diversity -- Vaughan plays slide guitar on "Boot Hill" and acoustic on "Life by the Drop"; he smokes on the slow blues of "May I Have a Talk With You" and the title track just as much as on the up-tempo Lonnie Mack cover, "Wham"; and he shows the jazzy side of his playing on Hendrix's "Little Wing" and Kenny Burrell's "Chitlins Con Carne." But it's not just musical diversity that makes the record work, it's also Vaughan's emotional range. From the morbidly dark "Boot Hill" to the lilting "Little Wing" to the exuberant tributes to his influences -- Lonnie Mack on "Wham" and Albert King on "The Sky Is Crying" -- Vaughan makes the material resonate, and in light of his death, "The Sky Is Crying" and the touching survivor-story ballad "Life by the Drop" are two of the most moving moments in Vaughan's oeuvre." - Allmusic
    $7.50
  • "By 1977 Journey had reached a creative crossroads, with three underwhelming studio albums under their belt and little to show in the way of commercial success. At the prodding of manager Herbie Herbert, who felt a major shakeup was needed in order to reignite their spark, the band was convinced to audition and eventually recruit the services of former Alien Project vocalist Steve Perry. Sure enough, adding him to the band just prior to the sessions for Infinity proved to be a stroke of genius, and a move that undeniably altered the course of history for the fledging Bay Area act. Released in January of 1978, Infinity easily proved to be the band's most cohesive work to date. Dead and buried were the jazz fusion overtones of previous offerings, and with the new songwriting combo of Perry/Neal Schon leading the march, the band set out to completely redefine their sound. Traditional pop arrangements were now adopted, cutting out the unnecessary musical fat, and allowing each bandmember to play to his strength: Perry's soaring, whale of a voice, Schon's scorching fret work, and Gregg Rolie's subtle keyboard arrangements. Enlisting eccentric producer Roy Thomas Baker (already famous for guiding the likes of Queen and Nazareth to giant commercial triumphs of their own) also proved to be a rewarding move for the boys. With newfound confidence, Journey crafted a record that could finally land them on the radio. Loaded with future FM staples like "Wheel in the Sky" (which hit the Top 50 in April of 1978), "Lights" (which quietly peaked at number 68 that August), and "Anytime" (pretty much a flop, crawling to number 83 in July), Infinity introduced Journey to an entirely new audience. Even non-singles like "Patiently (the first tune Perry ever wrote with Schon) and "Somethin' to Hide" were leaps and bounds beyond the band's previous accomplishments. And, ultimately, though Infinity merely introduced the band to mainstream radio (it was the never-ending tour on which the band embarked on to support it that drove the disc past the platinum plateau), it effectively cemented their rep as one of America's most beloved (and sometimes hated) commercial rock/pop bands. With over 170 shows under their belts, Journey had just begin to hit their stride." - All Music Guide
    $7.50
  • Remastered edition with bonus tracks."The group's fourth album, appearing ten months following After Bathing at Baxter's, isn't the same kind of leap forward that Baxter's represented from Surrealistic Pillow. Indeed, in many ways, Crown of Creation is a more conservative album stylistically, opening with "Lather," a Grace Slick original that was one of the group's very last forays (and certainly their last prominent one) into a folk idiom. Much of what follows is a lot more based in electric rock, as well as steeped in elements of science fiction (specifically author John Wyndham's book The Chrysalids) in several places, but Crown of Creation was still deliberately more accessible musically than its predecessor, even as the playing became more bold and daring within more traditional song structures. Jack Casady by this time had developed one of the most prominent and distinctive bass sounds in American rock, as identifiable (if not quite as bracing) as John Entwistle's was with the Who, as demonstrated on "In Time," "Star Track," "Share a Little Joke," "If You Feel," (where he's practically a second lead instrument), and the title song, and Jorma Kaukonen's slashing, angular guitar attack was continually surprising as his snaking lead guitar parts wended their way through "Star Track" and "Share a Little Joke." The album also reflected the shifting landscape of West Coast music with its inclusion of "Triad," a David Crosby song that Crosby's own group, the Byrds, had refused to release -- its presence (the only extant version of the song for a number of years) was a forerunner of the sound that would later be heard on Crosby's own debut solo album, If I Could Only Remember My Name (on which Slick, Paul Kantner, and Casady would appear). The overall album captured the group's rapidly evolving, very heavy live sound within the confines of some fairly traditional song structures, and left ample room for Slick and Marty Balin to express themselves vocally, with Balin turning in one of his most heartfelt and moving performances on "If You Feel." "Ice Cream Phoenix" pulses with energy and "Greasy Heart" became a concert standard for the group -- the studio original of the latter is notable for Slick's most powerful vocal performance since "Somebody to Love." And the album's big finish, "The House at Pooneil Corners," seemed to fire on all cylinders, their amps cranked up to ten (maybe 11 for Casady), and Balin, Slick, and Kantner stretching out on the disjointed yet oddly compelling tune and lyrics. It didn't work 100 percent, but it made for a shattering finish to the album. Crown of Creation has been reissued on CD several times, including a Mobile Fidelity audiophile edition at the start of the '90s, but in 2003, RCA released a remastered edition with four bonus tracks from the same sessions including the mono single mix of "Share a Little Joke," the previously unreleased 8 minute "The Saga of Sydney Spacepig," Spencer Dryden's co-authored "Ribump Ba Bap Dum Dum," which is a spaced-out assembly of noises, effects, and pop-culture catch-phrases, and the more accessible "Would You Like a Snack?," an atonal piece of musical scatology featuring Grace Slick and co-authored by Slick and Frank Zappa." - Allmusic Guide
    $7.50
  • "Clive Nolan (Pendragon, Arena) returns with his new solo project - ‘Alchemy – a musical”, a Victorian adventure set in 1842. Next to Clive Nolan himself, the album feature the artists well known in the world of progressive rock including Tracy Hitchings (Landmarq, Strangers on a Train), Andy Sears (Twelfth Night), Paul Manzi (Arena), Damian Wilson (Threshold), Paul Menel (ex-IQ), David Clifford (Red Jasper) as well as the leading lady of Nolan's previous musical 'SHE', Agnieszka Świta and Noel Calcaterra - a Uruguayan singer/actress and the voice of Clive Nolan South American 'Otra Vida' project from 2010. The Caamora Company musicians - Clive Nolan (keyboards), Mark Westwood (guitars), Scott Higham (drums), Claudio Momberg (keyboards) and Kylan Amos (bass) will once more take charge of the instrumental part of the project. The core members of the company will be joined by special guests and a chorus. This release will be preceded by the world premiere of 'Alchemy' show at the famous Wyspianski Theatre in Katowice, Poland on February 22, 2013, where it will be recorded and released on a DVD by Metal Mind Productions in Autumn 2013."
    $17.00
  • The band's fifth album was a brilliant amalgam of Beatles influenced pop and classically influenced progressive rock. I still get a rise out of hearing "Fire On High". This remastered edition comes with five bonus tracks which are a bit dispensible alternate mixes.
    $7.50
  • 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
  • New edition of the band's second album features a remix by Rob Reed and remastered sound courtesy of Bob Katz (who called me to proclaim this "reference recording material"). There is a bonus DVD (NTSC - region 0) which features a 5.1 remix and video footage of Rob and Steve Reed in the studio as well as some Magenta official bootleg clips of Seven material.Wonderful followup to their 2001 debut. "Seven" is a concept album based on the 7 deadly sins. So you get 7 tracks crammed into a 76 minute disc filled with stunning female vocals and a musical melange that recalls the salad days of prog bands. Genesis fans will trip out on this one! Highly recommended.
    $19.00
  • "This 1971 release also went gold, here with an unreleased live version of Travellin' in the Dark (to E.M.P.)."
    $8.00
  • A Liquid Landscape from The Netherlands is a bit of a departure for The Laser's Edge. Their slice of post-progressive music has a contemporary edge that finds them sitting alongside bands like Dredg, Anathema, and Porcupine Tree. The band has been a live act for several years and shared the stage with bands like Karnivool (AUS), Anathema (UK),Thrice (US) and Riverside (Poland).During the past year the band also was a finalist at the prestigious annual Dutch Grand Prize contest and on top of that they had 3 sold out Noorderzon gigs, featuring a stunning visual show.With all the material they had written, the band reached out to Forrester Savell (Karnivool, Helmet). Forrester liked the material a lot and he agreed on mixing the album and doing some production work as well.‘Nightingale Express’ is a concept album. This inspired moviemaker Lex Vesseur to make a short movie with music from the album. He also made the artwork and the visuals for the live show. So both the music and the film return in an interactive rock show with a live VJ.Washed up, tired and staggering across a beach in the early hours of the morning. Somewhere in the twilight between desperation and surrender, there is still a glimmer of hope. That sense that everything will be alright, no matter what the odds are. This is what A Liquid Landscape sounds like. 
    $6.00