Raised On Radio ($5 Blowout Price!)

SKU: 82876858942
Label:
Columbia
Category:
Hard Rock
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Remastered edition with two bonus tracks.

"Journey's ninth new studio album found the group reduced to a trio of guitarist Neal Schon, singer Steve Perry, and keyboard player Jonathan Cain. But even without their regular rhythm section, the group was able to re-create the accessible pop/rock sound perfected on earlier albums such as Escape and Frontiers. Schon's guitar still cut through the fat keyboard chords, and Perry's fluid tenor still gave the songs an airy, melodic appeal. All of that was good for sales of two million copies and five chart singles, four of which made the Top 40 and one of which, "Be Good to Yourself," reached the Top Ten. That didn't match the seven-million-selling number one Escape, but it confirmed that Journey's music had a large audience right to the (temporary) end of its career." - All Music Guide

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  • The latest from this superb US melodic metal band. This fits as a logical progression from Ten More Tales. Lots of prog moves balanced by some AOR moments - which is basically the Balance of Power formula. So you get intricacy and melody all wrapped together in one cool package.
    $14.00
  • "Anathema's 1995 emotional doom metal masterpiece, including bonus DVD featuring their legendary Polish gig from 1996, plus promo videos."
    $15.00
  • 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.
    $15.00
  • From time to time over their career Tangerine Dream would release a live album - most of them are pretty good.  This one is pretty phenomenal.  It was recorded in the US on their 1977 tour in support of Stratosfear.  It consists of 4 epic length tunes.  If you are into electronic music this is a must own.
    $10.00
  • "Cradle of Filth is, without question, Britain's most popular, adventurous, funniest, and theatrical alternative metal band (they've actually smiled in photos in full corpse paint). They've been blogged about endlessly, and most recently about not being in the least bit a "black metal band" anymore but merely a good metal band -- they seldom wear corpse paint; they've been interviewed by MTV; a MySpace page (not run by them); and lead singer Dani Filth sometimes goes by his real name Dani Davey now. Whatever. Cradle of Filth are not a good metal band; they are a great one. Over six previous full-lengths they've been able to make seamless the melding of gothic textures, symphonic music, drama and dynamics, bone-shattering death metal, high concept theater, great production, and humor. In short, they may be mainstream these days, but they can still shred the pants off just about any body musically.Thornography follows Nymphetamine on the Roadrunner label and is produced by Rob Cagganio. And the band is intact with guests like the inimitable Sarah Jezebel Deva of Angtoria. While it's true that the new title doesn't match the last one (it was so brilliant, how could it?), the music certainly does. A deep, creepy gothic intro titled "Under Pregnant Skies She Comes Alive Like Miss Leviathan" (written by Chris and Tommy Rehn of Angtoria) that would have improved upon the one in the original Hellraiser film, with big choirs, huge organs and strings, it's almost Wagnerian in scope and sets the tone for those bludgeoning twin guitars and blasted drum work on "Dirge Inferno" (which is anything but). Dani Filth is as entertaining as ever as s singer, sounding somewhere between Cookie Monster with a razor stuck in his throat and Chris D. of the L.A. horror-punk band of yesteryear the Flesh Eaters. But it wouldn't matter if Miss Piggy were fronting this unit, they are so utterly accomplished as a metal band musically. Check "Tonight in Flames" with its references to the great metallic bands of the past for evidence. But Dani serves another purpose because he's so utterly entertaining. "Libertina Grimm" weds Lovecraftian horror filtered through Vincent Price kitsch, wedded to Sade-ian pornography via blistering metal: "God was six days sober/On the night that she was born/To the glistening star of a bible class/An icon now in religious porn." Offended? What did you expect from a band called Cradle of Filth? "Sweet Child O' Mine"?This might be offensive if it could at all be taken seriously. Offense is the point, but so is the fun of classic horror. Better is "The Byronic Man," which follows. It's such an intensely high gothic concept, lamenting Lord Byron's fate and celebrating his many alleged crimes against culture, the church and the aristocracy: "As lonely as a poet on the walls of Jericho/Or the moon without the comfort of the stars/I am loathe to know it that a man without a soul/Is nothing but a spilt canopic jar/I proved it, improved it/Drove a sonnet right through it..." But none of this would matter if this band couldn't write songs, and be so utterly full of the dark side of Halloween and rock the joint to the cracked cement foundation. Who cares what the street thinks about them? Cradle of Filth have been trying to be the evil version of Queen for ten of their 15-year history. Whether its Edwardian decadence, classless humor, power metal in overdriven fury or over-the-top satire disguised as transgression; COF are so very consistent and sophisticated musically and sonically that they are virtually untouchable and in a class of their own -- which is where, make no mistake, they always wanted to be.Other standout tracks on this set include "Cemetery and Sundown," with its woven vocal choruses, deep rumbling bass riffs, and melody line like something off the Damned's Black Album. The unhinged "Foetus of a New Day Kicking" simply kicks ass in the way that Venom did on their debut album with riffs as sledgehammer-like as early Iron Maiden. But nothing quite prepares the listener, whether old loyal fan or newfangled bandwagon jumper, for the cover of Heaven 17's "Temptation" that closes the record and, in addition, is the album's first single and video. Who said Satanic heavy metal bands couldn't crack a joke? Whether this will be the last straw for the COF faithful and/or win them an entirely new legion of fans is anybody's guess, but let's just say by the sound of Thornography, COF are aiming at playing an arena near you sometime in the near future." - Allmusic Guide
    $6.00
  • "Tracer release their new album ‘Spaces In Between’ on October 3rd (UK release) on the Cool Green recordings label.  The Australian desert rockers, who are based in Adelaide, comprise of brothers Michael and Leigh Brown and Andre Wise. They have had success with two previous independent releases, but ‘Spaces In Between’ will I feel launch Tracer to new heights.Tracer’s blend of 90’s stoner and 70’s classic rock is steeped in epic guitar sounds, clever hooks and raw, uncompromising vocals.I hope (and imagine) that Tracer can reproduce live on stage the intensity and passion and raw rock n roll that is so evident in this album. With the UK tour coming up I think we should all go and check out these Aussie contenders!“So what’s the album really like?” I hear you say.   The album starts with ‘Too Much’ and a great start it is. A guitar riff straight from the 70’s classic-rock bible. A solid, constant rhythm throughout. A very catchy rock song, which is understandably the first single from the album.Check out the video belowTrack two; ‘Push’ has a more laid back feel. It still rocks, but in a groovier kinda way. If Jimi Hendrix and Paul Rodgers had a lovechild, it would sing like this!‘Walk Alone’ continues the 70’s rock vibe. A solid drum beat throughout which has a simple yet traditional guitar riff over the topThe fourth track, ‘Louder Than This’ is stoner rock at its finest. Distorted vocals over a solid pounding drum beat, with guitars turned to eleven. There is almost a Slade vibe to this song. I can imagine Noddy Holder belting this out in the 70’s.The next track ‘Devil Ride’ goes back to the rockier tempo of track one. Definitely the catchiest chorus on the album so far.  I have a feeling that ‘Devil Ride’ might just be the next single.Track six is another thumping tune. ‘ The Bitch’ is the song which will get the crowd going wild in the mosh-pit, although they will still sing along to the chorus, with devil-horns flying high.The seventh track, ‘Voice In The Rain’ has a much slower pace than most on the album. The Paul Rodgers comparison to Michael Browns vocal is most evident here. A great performance.The album’s title track ‘Spaces In Between’ is the stand out track. The bass line complements the raw guitar sound and you find yourself singing along to ‘The Spaces In Between’ line of the chorusTrack nine is ‘Dead Inside’. This starts slow and Bluesy, rocks in with screaming vocals and guitar solos, slows back down again then totally rocks out towards the end. A clever song, which highlights the bands musical talents.‘Save My Breath’ is another pulsating rocker with some nice stop/start moments and even a little psychedelic middle eight!‘All In My Head’, the eleventh track, is a mellow rocker with another catchy chorus.The album closes with ‘Won’t Let It Die (Run Mary)’. A shot of Bad Company, a dash of Led Zeppelin and topped up to the brim with Jimi Hendrix.  Get the idea? A laid back song but with great guitar work, especially the solo. This will have you singing along by the end." - I Review Rock
    $12.00
  • Remastered edition of the second album from the greatest hard rock band to come from Long Island.Comes with 4 bonus tracks and a price you can live with.
    $5.00
  • "Vital Science bears all the hallmarks of your atypical Scandinavian progressive metal outfit. You know, the likes of Circus Maximus, Illusion Suite, and Oceans Of Time (to name but a few). What I’ve found odd, though, is that despite peddling a sound which on the surface is commonplace these days; Vital Science manages to bring something strangely fresh to the table. This is something I feel I’ve pegged down, although it could well be a plant by Vital Science’s aural tentacles, which by now have plunged deep and scrambled my brains.There are a fair few elements that Vital Science offers which will be familiar to anyone with slight knowledge of the genre. A foundation of Dream Theater, a generous lavishing of Symphony X; essentially the Circus Maximus formula, although try adding a sprinkling from the more aggressive rack. Yeah, let’s take a pinch of Control Denied, a few drops from Future’s End; and don’t forget a spot of Nevermore. It’s in the deft inclusion of the heavier end of the progressive metal spectrum where Vital Science begins to find itself crawling out from beneath the “average” atypical sound, and from the realms of melodic prog; strangely enough, I feel that the album flows in that sense.The first couple of tracks are without doubt friendly in their utilization: Alexey Boykov’s smooth, Russell Allen-meets-Mark Basile vocal styling is enticing, and when painted over a symphonic backdrop eases you into Imaginations On The Subject Of Infinity. As such, the first song proper, “Bridge Of Sorrow”, flows by as a solid piece, one well-written although lacking in fire. It houses that comforting familiarity – much like you’d feel kicking back in your living room. The following number delivers more in the way of the heavy, as well as that of technicality and, well, prog. It’s that chill running up your spine, or a growth beginning to fester. It’s at this point that Vital Science begins to kick up the excitement.Riffs that, dare I say, come across as unconventional given the progressive power style, begin to rear their heads. Like spiders or other unwelcome guests seeking to compromise the comfort in the aforementioned living room, clamoring through the cracks in a wall, or the gap under a door. It’s here that Vital Science shows that its really pretty damn bad-ass. These are riffs and rhythms that you’re going to want to headbang to; boasting infectious groove, and even some of the more “evil” sounding chord progressions and scales I’ve heard lately. Mixing in the darker, heavier textures with the more pristine, melodic prog conventions makes for an involving listen. In fact, speaking of darker and heavier texture, at times Vital Science spring the likes of Adagio and To-Mera to mind; especially so when considering technicality.As the album continues to progress, so does the band. With each track it feel that Vital Science opens up a little more, stretching the boundaries of their sound a little wider. To the point where some of the music recalls that of (modern) technical death metal, although (and this is something that I can’t stress enough) this resemblance comes in terms of musical prowess and note progression, as opposed to production or tonality. The last half of the album is seriously cool nonetheless, and seeks to catapult Vital Science from the realm of “good band” to that of a great one.In a way, I guess Vital Science amalgamate a considerable amount of what I’ve enjoyed from progressive metal on the whole over the last decade or two. I could write a scary long list of bands that Vital Science springs to mind at any one point throughout the album – and trust me it would extend far – but I feel Imaginations On The Subject Of Infinity deserves more than that. Instead, let’s just say that the band manages to evoke varying shades of atmosphere, and proudly covets an arsenal of sharp hooks, deft songwriting tricks, heavy hitting riffs, and enough in the way flamboyant technicality to ruin many a mind." - Blackwind Metal
    $15.00
  • "As history has demonstrated, a female singer is a good way to change the landscape, or at least get more eyeballs pointed in the desired direction. And since there a few landscapes as dry as power metal, it manages to work for Polish-based power metallers Crystal Viper. On Legends, the band does manage to use every power cliché known to man (or woman), but the added element of singer Marta Gabriel gives it the apropos nudge in the right direction. Gabriel is hardly spectacular, but neither was Doro, so when she’s belting out the choruses to the valiant “Blood of the Heroes” or “Goddess of Death,” it’s easy to drop her into a band like Hammerfall, who are probably the closest cousins in terms of comparison. Gabriel also gets high marks on “Sydonia Bork,” a tender ballad that shows the Pole can do more than rasp her away through an album. Flashy Crystal Viper is not, so they’re often left to rely on the previously-done melodies and song constructs, namely the very Stratovarious-esque “A Man of Stone.” Elsewhere, the surging “The Ghost Ship,” and “Night of the Sin” are traditionally-styled PM romps, complete with rousing choruses and ample amounts of gang vocals which are the stuff that Doro made her uh, “legend” out of. Indicative of just how willing some power metal bands are in terms of playing it close to the vest, Legends won’t blow the doors off anyone, yet it’s the tried-and-true formula of simple songs, bombastic choruses, and a vamping female singer that gets the job done. Amazing what a touch of a woman will do, eh? " - blistering.com
    $14.00
  • One of the great overlooked prog metal albums of the 90s made available again. This album with the odd name was only released in Japan by Toshiba-EMI in 1998. It was the debut album from this Swiss trio and featured the great Thomas Vikstrom on vocals. The music was keyboard driven, a bit off kilter and totally amazing. The band didn't release anything again until this year's Retrospective but the similarities are superficial. Retrospective is a great album but a bit more conventional. Cosmic Handball has a lot more personality. Its been remixed and remastered which can only help as the original production was a bit murky sounding. Highest recommendation.
    $5.00
  • More keyboard dominated progressive metal from this consistently excellent UK band. This is the first album to feature Mac on vocals.
    $18.00
  • "Probably Bulldozer's most advanced release ever, Neurodeliri starts with a dramatic pipe organ intro that quickly evolves into the massive title track. Although this album still features many of the band's familiar traits, the result is considerably more focused, intense and memorable than IX. Despite some more serious touches, the music on the whole remains strangely uplifting and captivating. Highlights include the awesome title track and Art Of Deception, not to forget about Ilona Had Been Elected which appears to be another amusing song about the band's favorite Ilona Staller. These compositions are not without their rough edges, but eventually all the pieces fit together quite nicely and you can't help really liking some of this release. It seems that with Neurodeliri Bulldozer finally refined their style to the maximum effect." - Classicthrash.com
    $16.00
  • Reissue of the band's 1988 album now available with three bonus tracks from the Millstream sessions."After being dropped by EMI Records Pendragon (i.e. Nick Barrett) decided to go for an own record label, called Toff records. After a few years this was the first (studio) CD with Clive Nolan and Fudge Smith. This album indicates a slight difference with the earlier albums. Nick Barrett tries to write some shorter, more single orientated songs, but he doesn't forget the long epics ! Therefore this must be one of the most varied Pendragon albums, unfortunately not all the songs do have my interest !KowTow opens with Saved By You, a very simple track, and very poppy ! The Mask, Time For A Change and I Walk The Rope are a little "best of both worlds": very good compositions but a little shorter (4-5 minutes) than the songs on previous albums. An indication that Pendragon goes a little more song-orientated.2.AM starts with a saxophone and is a very sad, melancholic ballad. Next tracksTotal Recall and The Haunting are long, progressive songs which make me think of the "old" classical Pendragon songs. Especially The Haunting is a FANTASTIC song (by far the best on this album); Pendragon at it's best ! Solid Heart is a very nice sing-along song while KowTow is a statement about war in which Nick Barrett proves he can write good lyrics. A great (re)start for Pendragon at this stage of their career. Especially the nice keyboard sound of Clive Nolan and the aggressive and subtile drum sound of Fudge Smith makes it a very good album. But you have to like the song orientated direction Pendragon shows on this album." - DPRP.net 
    $13.00
  • This band might be a bit of a stretch for typical Laser's Edge fare but I think they are great and definitely worth your attention.  You might not have a choice since they are about to blow up on a world wide basis and you'll have trouble avoiding them.  Smoke Fairies are the duo of Katherine Blamire and Jessica Davies.  Their music fits into the "freak folk" category.  It has a mystical and melancholy feel - almost hypnotic.  They harmonize so well their voices almost meld into one.  There is a bluesy element present as well but I tend to focus on the psychedelic vibe I get off the tunes.  Its straight forward music but incredibly intoxicating.  These British ladies will draw you in with their voices and not let you go.  This edition is limited and comes with a bonus CD with five extra tracks.  Highly recommended."Smoke Fairies have been carefully gathering their influences like the ripe fruit of a summer’s feast. The British duo took their formative music experiences in New Orleans and Vancouver and settled with this combination in London, crafting ethereal mixes of wicked, sultry folk. Their second album, Blood Speaks, takes those same ingredients and pushes them to the brink. It’s no wonder Jack White picked them up as the first UK act to sign with Third Man Records. Smoke Fairies are at once entirely fitting of White’s trademark style and yet timeless in a very different way.“Feel it Coming Near” is an oscillating gem, its driving, bluesy bridges sonic gold. Opener “Let Me Know” may be as rocky as Smoke Fairies get, though it’s an apt introduction to the progressive melodies and rich harmonies. The band straddles a complex boundary between Yes sensibilities and Fleetwood Mac spunk throughout the ten-track LP. Nowhere are those two styles as starkly represented than in “Hideaway,” a surprisingly mellow call to arms against a heartless lover and their intoxicating spells. Even in the overly-elaborate “Awake,” the busyness of arpeggios clashing against vocals somehow grows on you. Smoke Fairies tend to be just as alluring as their subjects, and even in their missteps, you can’t help but listen." - Mxdwn.com
    $10.00