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  • Actually credited to Simonetti, Morante, Pignatelli. This is the complete soundtrack to the 1982 giallo thriller. It features lots of unreleased cues.
    $16.00
  • Reissue of killer German fusion that will appeal to fans of Weather Report, early RTF, Embryo and Kraan.  This was the band's second album and consists of a completely revamped lineup from the debut four years earlier.  The sound is very different as well - all the bluesy elements are gone.  Its quite jazzy and the production is much more polished thanks to Dieter Dierks.  Flute and sax figure as the lead instruments over a bed of funky keyboard sounds.   Comes with one bonus track.  Numbered limited edition.  Highly recommended.
    $28.00
  • 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
  • Mind blowing set from this early 70s German jazz rock band culled from the vaults of SWF radio.  Dzyan was formed by bassist Reinhard Karwatky but the emerging star was guitarist Eddy Marron.  The lineup for these sessions is a quintet consisting of guitar, sax, bass, drums, and percussion.  High energy jazz rock with a psychedelic undercurrent is the order of the day.  Think Mahavishnu Orchestra crossed with Guru Guru.  Percussionist Jochen Leuschner also handles the occassional vocal.  He's got a great soulful voice that fits in comfortably.  High level of musicianship throughout but I have to mention Marron again - his playing really blows my mind.  BUY OR DIE!
    $28.00
  • "A never before released full length concert album from one of the greatest undiscovered gems of 70s rock, Captain Beyond!Formed in 1971 by members of Deep Purple, Iron Butterfly & Johnny Winter s band, Captain Beyond is heavy, spacey and most definitely FAR OUT!This show was recorded just after the release of the band s second album, Sufficiently Breathless, during the their tour with King Crimson!Liner notes by noted rock historian Dave Thompson!"
    $15.00
  • "This 1970 release "climbed" to #17 with the classics Mississippi Queen and Theme from an Imaginary Western . Also includes an unreleased live version of the Woodstock ode For Yasgur's Farm !"
    $8.00
  • Phase - Midnight Madness is the third release in our limited edition Modulus series.  Pressed in an edition of 500 copies, it comes housed in a old school style tip-on mini-LP jacket.  A 12 page booklet features detailed liner notes from the members of the band.Phase was a New Jersey based quartet formed in 1978.  It featured Regan Ryzuk (piano, Moog, Celeste), Dave Anderson (electric and Anscor stereo guitar), Carl Scariati (Carl Thompson electric bass), and John Hvasta (drums/tympanis).  All members were young but highly accomplished musicians with a serious interest in jazz, classical composition, and progressive rock.  Their high energy instrumental music clearly demonstrated these influences.  The music of Phase can easily be classified as fusion but there are strong undercurrents of progressive rock that weaves its way through the album - not just in terms of the instrumentation or playing, but the compositions as well.The band signed a deal with QCA/Red Mark Records in Cincinnati.  The band left New Jersey and heading out to Ohio to record Midnight Madness.  The album was recorded and mixed very quickly.  It saw a release in 1979 and unfortunately sank without much of a trace.  Keyboardist Regan Ryzuk reissued the album two years label, rebranding and repackaging the release under the Fusion Quartet moniker.Hearing this music for the first time was quite a revelation.  I was blown away to say the least.  When I'm asked to describe the music I typically reply "Return To Forever meets Emerson Lake & Palmer".  Not only did this quartet have chops from hell but the compositions were challenging as well.  If you are a fan of RTF, Mahavishnu Orchestra or the prog giants ELP, Yes, Zappa, and PFM you will find much to enjoy here.Please keep in mind that when this edition sells out it will be gone forever.   
    $27.00
  • This was always a weird but charming album.  Recorded on a low rent budget in 1977, Akasha made this one and done album.  The album kicks off with a lengthy track loaded with 'tron.  The rest of the album is full on prog rock with lots of wacked out twists and turns.  It literally was recorded in the bomb shelter in the basement of a hotel so it has a real primitive sound but the music does shine through.
    $26.00
  • Reissue of classic US prog rock band from the 70s had more than a little touch of AOR in their officially released album. This is a collection of unreleased, more complex material.
    $15.00
  • Remastered edition with 2 bonus tracks."Easily one of the most important heavy metal albums ever released, Stained Class marks the peak of Judas Priest's influence, setting the sonic template for the New Wave of British Heavy Metal more than any other single recording. This is the point where Priest put it all together, embracing their identity as the heaviest band on the planet and taking the genre to new heights of power, speed, musicality, and malevolence. Not until Painkiller would the band again be this single-minded in its focus on pure heavy metal. Their blues-rock roots have been virtually obliterated; largely gone, too, are the softer textures and gothic ballads of albums past. The lone exception is the morbid masterpiece "Beyond the Realms of Death," on which the band finally finds a way to integrate the depressive balladry of songs like "Epitaph" and "Last Rose of Summer" into their metal side. Starting out with quiet, mournful verses, the song's chorus is ripped open by a blazing guitar riff as Rob Halford shrieks about leaving the world behind, a dramatic climax that sounds like a definite blueprint for Metallica's "Fade to Black." Yet it wasn't this song that inspired the ridiculous 1989-1990 court case involving the suicide pact of two Nevada teenagers; that honor goes to the Spooky Tooth cover "Better by You, Better Than Me" (penned by none other than the "Dream Weaver" himself, Gary Wright), on which the band allegedly embedded the subliminal backwards-recorded message "Do it." Astounding implausibility aside (as the band pointed out, why encourage the suicides of fans who spend money?), it isn't hard to see why Stained Class might invite such hysterical projections. On balance, it's the darkest lyrical work of the band's career, thematically obsessed with death, violence, and conquest. That's not to say it's always approving. Sure, there are battle cries like "White Heat, Red Hot," horrific nightmares like "Saints in Hell," and elements of the fantastic in the alien monsters of "Invader" and stone classic opener "Exciter." But the band stays philosophical just as often as not. The twisting, turning title track adopts the biblical view of man as a hopeless, fallen creature preyed upon by his baser instincts; "Savage" foreshadows Iron Maiden's "Run to the Hills" in depicting violent colonizers as the real savages; and closer "Heroes End" laments the many legends born from untimely deaths. So in the end, what really cements the celebrated morbidity of Stained Class is the sinister atmosphere created by the music itself. Never before had heavy metal sounded so viciously aggressive, and never before had that been combined with such impeccable chops. Seemingly at will, Tipton and Downing spit out brilliant riffs that cut with knife-like precision, usually several per song. This means that there's a lot to take in on Stained Class, but if there's nothing here as immediate as the band's later hits, there's also a tremendous amount that reveals itself only with repeated listens. While the album's overall complexity is unrivalled in the band's catalog, the songs still pack an enormous visceral impact; the tempos have often been jacked up to punk-level speed, and unlike albums past, there's no respite from the all-out adrenaline rush. Heavy metal had always dealt in extremes -- both sonically and emotionally -- but here was a fresh, vital new way to go about it. It's impossible to overstate the impact that Stained Class had on virtually all of the heavy metal that followed it, from the NWOBHM through thrash and speed metal onward, and it remains Judas Priest's greatest achievement." - All Music Guide
    $7.50
  • "This was professionaly recorded by Radio Bremen back in 1974 and the sound quality is excellent. One of the big differences between this release and their studio albums is the addition of the great Eddy Marron on guitar. He played with them for less then a year while at the same time playing for DZYAN and FREE SOUND. Yes he was a busy guy playing a lot of live dates, this is the only document we have of him playing with MISSUS BEASTLY. Eddy mentions in the liner notes that this band never took drugs, it was all about the music. I would describe the music on this recording as being Free Jazz and I have to say right away that I contemplated giving this album 5 stars that's how impressive it is.Things get started with the 27 1/2 minute "Free Clinic" which is definitely my favourite track on here. It sounds like vibes to open as other sounds come and go in this atmospheric intro.The guitar sounds are getting louder 4 1/2 minutes in until a minute later he's lighting it up. Nice bass and flute as well. The guitar stops after 8 1/2 minutes. Check out the bass after 10 1/2 minutes. Nice. Sax takes the lead 12 1/2 minutes in. Organ after 15 minutes and then it settles right down to an experimental section with sax and other sounds. The tempo picks up as we get a melody after 19 1/2 minutes, love the drumming here.The guitar is back after 22 1/2 minutes and he just starts to rip it up. Flute before 25 1/2 minutes as guitar backs off. Drums and percussion continue to impress. Bass takes over for flute then sax comes in to end it. What a ride that was."Green Girl" opens with sounds that come and go including vocal expressions. It all starts to come together to form a melody. Very cool. Sax takes the lead until it ends the way it opened. Brilliant ! "Steel's Electric" is an Eddy Marron composition. It's fairly laid back with the guitar the sole focus early. Light drums join in. Sax and flute help out around 4 minutes.The sax gets dissonant.The tempo picks up after 6 minutes with some good bass a minute later. Sax after 8 minutes returns. - ProgArchivesLimited numbered edition.
    $29.00
  • 1975's Warrior On The Edge Of Time finally sees a reissue courtesy of Esoteric Recordings.  This iconic album features the classic lineup of Dave Brock, Nik Turner, Lemmy, Simon House, Simon King, and Alan Powell.  The album was reissued on CD years ago and has been out of print for a couple of decades.  The band or their management never gave clear explanation at to why the album remained out of print.  One assumes a rights issue that remained unresolved.  This newly remastered version is transferred from the original analogue master tapes and features one bonus track - the b side "Motorhead".
    $16.00
  • The first album from this interesting German band.  If you read the bio of the band you can tell that Missus Beastly were a bit of a disorganized mess.  They went through constant lineup changes throughout their history, and there were changes in sound as well.  They even had two consecutive self-titled albums to add to the confusion.  This one was recorded in 1970.  The sound has a bit of a wild loose feel.  Very much a jamming effort with a psychedelic blues meets jazz rock feel.  Wicked guitar solos going hot and fast with an ever present organ.  All pulled together with an appropriate underground low production value feel.  I eat this kind of stuff up.  Highly recommended. 
    $28.00
  • "Riot has always been ahead of the curve, be it their powerful riff machine, or their unapologetic status as pioneers in the speed metal genre. I would like to take an opportunity to differ once again with the common viewpoint here, this is not “almost” Painkiller 2 years before; it is its doppelganger, at least in terms of kick ass aggressiveness and image. It is a more musical and complex answer to the thrash genre that it fathered; its spirit is that of a triumphant warrior cutting down its foes. While the heroic Painkiller soared through the sky putting fear into the hearts of his enemies, Thundersteel’s half-cyborg/half-tank body stood tall to face them on the ground.In 1988 metal was mostly known by its image, and if you judge these guys by that alone, they look like the bastard sons of Motley Crue and Judas Priest. But when Tony Moore blasts his high banshee voice into the microphone, he sounds like a crazed Viking Berserker ready to behead an army of frightened Romans. Mark Reale, the only remaining originator of this outfit, wields his guitar like a battle axe and challenges the likes of K.K. Downing, Dave Murray and Ross the Boss. Bobby Jarzombek, who is well known for his work with Rob Halford’s solo project, as well as several other bands, gives the performance of his life on here. Don Van Stavern keeps the bottom end solid and has a wicked bass intro in “Johnny’s Back”.There is never a dull moment on this album, from start to finish it grabs you by the throat and commands you to praise the Gods of Metal. Be it the fast as hell title track, which rivals anything Judas Priest has ever put out, or the more moderated Deep Purple riff monster “Sign of the Crimson Storm”, it screams metal. You’ve got an anthem of rebellion and non-conformity at warp speed like “Johnny’s Back” in the running, or the Manowar inspired heavy ballad “Bloodstreets”, which gives Heart of Steel a run for its money. “Fight or Fall” and “Flight of the Warrior” have memorable choruses and plenty of amazing lead work, all done by the original speed metal riff man Mark Reale, while “On Wings of Eagles” is a better produced version of something you might find on Kill Em’ All.We’ve got two highlights on this album, both of which are a good bit different than the lion’s share of speed driven songs on here. “Run for your life” is an upper mid-tempo crusher with tons of great lead guitar work, but it’s true charm is the chorus, which reminds me a bit of the high/low vocal interchanges that you hear on Dio’s early material. “Buried Alive (The Tell Tale Heart)” is actually a bit reminiscent of Crimson Glory’s work on Transcendence, which came out the same year that this did. You’ve got a rather odd spoken intro with a clean and somber guitar line, followed by some brilliant twin guitar soloing (all done by one guy, just the same way Tony Iommi did it). After 3 minutes of mind-blowing, we get a slow and evil sounding groove that grows into a brilliant homage to the NWOBHM, names like Iron Maiden and Angel Witch come to mind.In conclusion, this is a piece of metal history that demands to be listened to. If you are a power metal fan who lives for speed and melody, get your tight jeans wearing ass to the store right now. If you’re a holdover from the glory days of traditional metal and you don’t have it, get it now or risk having your credentials as a metal head questioned. If you love thrash with attitude, this gives the bands that carry that label a run for their money. Fans of Judas Priest, Manowar, Helloween, Running Wild, and Iron Maiden in particular will love this. There is a new power alive in the distance, carrying a fully charged plasma cannon, followed by an army of true metal warriors, and his name is “Thundersteel”." - Metal Archives
    $7.50