The Breaking Of The World

A new Glass Hammer is like a universal constant.  I can always expect exemplary old school prog rock.  For an old timer like myself Glass Hammer is right in my wheelhouse.  This is their 17th studio album (amazing!) .  If you are unfamiliar with the band you should know it revolves around the core of bassist Steve Babb and keyboardist Fred Schendel.  There have been a lot of musicians through the doors of their studio over the years but somehow they always seem to find an endless supply of them.  The line up seems to be fairly stable at the moment.  Salem Hill mainman Carl Groves handles lead vocals along with Susie Bogdanowicz returning as well.  Guitars are handled by Kamran Alan Shikoh and drums by Aaron Raulston.

Glass Hammer music is a reverential amalgam of Yes, ELP, Kansas and what the hell throw in a little bit of Genesis.  Steve and Fred proudly wear their influences on their sleeves.  Want wicked keyboard pyrotechnics?  Fred brings the thunder.  In fact they all do.  The Breaking Of The World arrives with epic length tracks and audiophile quality sound.  I wouldn't want it any other way.  BUY OR DIE!

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  • "US band ODIN'S COURT have been around ever since 2001, with a good handful of productions to their name so far, and in terms of full length albums they have released six of them so far. Their most recent one, "The Warmth of Mediocrity", was issued through US label The RecordLabel.net's Progrock Records division towards the end of 2013.While this is a full length album, I guess the majority would really sort this one as a compilation rather than a bonafide studio disc, as the greater majority of the songs have been pulled from old releases. But as these songs have been both remixed and to some extent remade as well, due to the addition of Dimetrius LaFavors as lead vocalist, this really is a new album even if much of the material have been available in other versions previously.As far as style is concerned, Odin's Court is among those bands that venture back and forth across the border between the rock and metal part of the progressive universe, although the main emphasis appears to be on the latter of these. They explore, at least in recent years, a brand of progressive metal that explore the contrasts between grimy, gnarly dark toned guitar riff constructions and light toned, subtly exotic sounding keyboard textures, with ample room for movements of a more careful nature to alternate between the harder edged and more intense ones. The piano is employed for an additional delicate touch on several occasions, and what I presume to be digitally crafted orchestral backings also have their place in the material of this band. The dulcimer is also used to good effects to convey effects of a more careful nature within this landscape.From what I can recall of their older material, it would appear that their new vocalist is a good addition to this band. There are still some issues with the vocals however. That there are songs here not written with the new vocalist and his particular voice in mind is a fact, and that some of the vocal parts comes across as somewhat odd in structure and execution both is a detrimental detail at times. As is the band's slight tendency to hit off in a dramatic, technically oriented run with quirky staccato riff bursts in asynchronous patterns, although this latter aspect probably has more to do with personal taste and not quite as much to do with stylistic expression and structure as such.Personally I found the band to be most interesting when exploring territories of a more regular nature, with the remade version of Utopian Rust and the following instrumental Paradise Lost: Chapter 1 to be clear album highlights. The former a fairly traditional progressive metal creation sporting a fairly smooth, dark toned guitar riff and a fairly predictable but effective keyboard contrast as the dominant elements, with compelling harmony based guitar soloing and a nifty bass motif beneath that fits this song in this guise very well indeed. The latter of these two songs appears to be a case of progressive metal inspired by classical music, using orchestral details to supplement the guitars and organ that otherwise sets the mood and atmosphere. Opening and title track The Warmth of Mediocrity also warrants a mention, and again we're dealing with a more common variety of progressive metal with strong and distinct contrasts between guitar riffs and keyboards, majestic themes and a harmony based song in general expression and instrumental solo runs both.All in all a somewhat uneven production as far as I'm concerned, where the most experimental numbers also comes across as the least inspired of the lot. But when Odin's Court starts exploring a more common and predictable variety of progressive metal, then they are going strong with all cylinders firing in a fitting, majestic manner. A band and an album worth taking a look at if you're curious of a band that are at their best exploring traditional progressive metal Dream Theater style, while also having a go at assembling compositions of a more challenging nature that may not be quite as appealing - all of this very much depending on personal taste admittedly." - ProgArchives
    $3.00
  • In 1974, Jethro Tull announced plans for WarChild, a multi-faceted project that was to encompass a feature-length film, a soundtrack album, as well a new album from the band. In October of that year, Tull released a 10-song album that would climb to #2 in the U.S. and the top 15 in the U.K., but the film and accompanying soundtrack were shelved. To commemorate the 40-year anniversary of this ambitious experiment, Parlophone revisits WarChild.WARCHILD: THE 40TH ANNIVERSARY THEATRE EDITION will be available as a limited edition 2-CD/2-DVD set on November 25 2014.Highlights from the set include:- Original album and bonus tracks (three previously unreleased), remixed in 5.1 surround and stereo by Steven Wilson.- 10 orchestral pieces (nine previously unreleased) written for the film s soundtrack, 4 of which are remixed in 5.1 surround and stereo by Steven Wilson.- Flat transfers of the original LP mix at 96/24, and the quadrophonic version (with 2 bonus tracks) in 4.0.- The Third Hoorah promo footage, and footage from a January 1974 photo session/press conference where the WarChild project was announced.- An 80-page booklet featuring an extensive history of the project, a film script synopsis, track-by-track annotations by Ian Anderson, plus rare and unseen photographs.
    $45.00
  • "Esoteric Recordings are pleased to announce the release of a remastered edition of the 1979 album by the Canadian Progressive Rock group FM, Surveillance . The band began life in 1976 with CAMERON HAWKINS (Synthesisers, Bass, Vocals) and NASH THE SLASH (Jeff Plewman) (Electric Violin, Mandolin, Vocals) coming together as a duo, making an appearance on national TV in Canada in the Summer of 1976. By March 1977 FM became a trio with the addition of MARTIN DELLAR on Drums. The band s debut album followed. By the end of the year Nash the Slash had been replaced by BEN MINK on Electric Violin and Mandolin. Surveillance was the third album by the band, released in 1979, and was a hit of the Progressive Rock genre in the USA and Canada. This Esoteric Recordings release is the first time Surveillance has been issued in Europe and has been newly remastered and includes an illustrated booklet and a new essay."
    $17.00
  • I guess it would be unfair to call Solution a second rate version of their country mates Focus but there are a lot of similarities.  Originally released in 1971, Solution's debut offers up some fine flute driven progressive rock with more than a little bit of Soft Machine/Canterbury touches.  Flautist Tom Barlage doesn't quite hit the pyrotechnics of Thijs Van Leer but overall there is some nice energy present between the flute and keys.  Vocals crop up but they tend to get out of the way.  The Solution titles were previously available in mutilated compilations.  This Esoteric edition features the original cover art, complete tracks, and detailed liner notes.
    $9.00
  • This 2CD is perhaps the band's crowning achievement. You can even perceive this to be their "Lamb" so to speak. Extremely ambitious work firmly implanted in the neo-prog style but with lots of cool intricacies. Peter Nicholls and Co. take it to the next level on this one.
    $16.00
  • "The Roaring Wolves are back… On a strong wake of a surprising and a triumphal album in 2011, that was much simply called “Wolfpakk”, the turbulent duo of vocalists comprised of Mark Sweeney (ex-CRYSTAL BALL) and Michael Voss (MAD MAX/MSG / ex-CASANOVA) unleash the successor, named "Cry Wolf" , and again the choral all-star project shift is the trick to give a marketing format for this burning platter, by gathering a pack of many high-class guest musicians and a few full blooded terrific barking voices to produce another raving record in the same musical vein as the great and self-titled debut.Running and undaunted Guests on "Cry Wolf" are :Vocals: Amanda Somerville (AVANTASIA), Ralf Scheepers (PRIMAL FEAR / ex-GAMMA RAY), Göran Edman (ex-RISING FORCE / ex-GLORY), Johnny Gioeli (A.R.P. / HARDLINE), Tony Mills (ex-SHY/ ex-SIAM / ex-TNT), Doogie White (ex-RAINBOW / ex-RISING FORCE / ex-CORNERSTONE / MSG), Blaze Baley (ex-IRON MAIDEN / WOLFSBANE), Piet Sielck (IRON SAVIOR / ex-SAVAGE CIRCUS).Guitars: Kee Marcello (ex-EUROPE / ex-EASY ACTION), Mandy Meyer (UNISONIC / KROKUS / ex-GOTTHARD / ex-COBRA), Roland Grapow (MASTERPLAN / ex-HELLOWEEN).Keys: Don Airey (ex-OZZY / DEEP PURPLE), Tony Carey (ex-RAINBOW).Drums: Brian Tichy (SUN / ex-WHITESNAKE), Hermann Rarebell (ex-SCORPIONS), Roland Jahoda (ex-PARADOX / F.U.C.K.)Under the leitmotiv of “if isn’t broken don’t fix it”, the Duet of Alpha Wolves and the fantastic AFM Records are teamed again in order to reedit the successful experience in giving the full and wild creative responsibility to the werewolf duet: the champions of Melodic Metal -Mister Sweeney and Doctor Voss.They wrote all the songs together (minus one surprise cover version from RAINBOW “Run With The Wolf” featuring the participation of the iconic keyboard player Tony Carey) and they were also in charge once again, for production and mixing duty, and of course they performed some ferocious vocals. This is a work of art tremendously and carefully polished that put some lights in a brilliant manner to the songwriting talent of the savage binomial Voss / Sweeney.The highlights of the albums are , the beginning track "Moonlight” with Ralf Scheepers who provide a very typical high flux of screaming and yelling, embellished by a fast pace and an epic dimension somewhere between HEAVENS GATE and MIND ODYSSEY with a little something from GAMMA RAY.In the same melodic power frenzy, the solid "A Matter of Time" that sounds like VICTORY meets BONFIRE, boosted by a share of battling vocals between Sweeney and Johnny Gioeli with an uplifting performance, courtesy of Mr. Brian Tichy beating his drum kit."Palace of Gold" reveals a new heaviness and a dark density before transforming in a more pompous style than usual with the participation to the voice of Tony Mills and a massive multi-layer backing vocal section choir, like a symphonic version of DIO merged with a delicate and fragile Prog Rock melody.Another fast double kick power number is "Beast In Me" with the always classy singing of Goran Edman, recalling that he was the singer for RISING FORCE / SPACE ODYSSEY / STRATOSPHERE and for 1999’s third album “The Last Viking” by The JOHANSSON BROTHERS and a true Neoclassical expertise demonstration in the lead spot provided by Roland Grapow.Then it's time for a real entertaining Teutonic Metal with an Hard Rock touch cut named "Pressure Down" with the very distinctive voice of Doogie White which is highlighted in a mid tempo heavy rhythm , and a strong sing along headbanging refrain with a great gang backing vocal unit, like ACCEPT meets SINNER with an extensive ad lib howling final.The rest of the tracklisting is also enjoyable mixing a few gimmick True Metal tracks as a simple sing along hymn as "Wakken" in the HAMMERFALL / IRON  SAVIOR / RUNNIG WILD and obliviously ACCEPT's fashion (…"bang your head…Metal attack"…)  or the less catchy but energetic, epic, tortuous and poignant title track "Cry Wolf" that extend to ten minutes with atmospheric sequence, special FX surreal sounds like wind and rain plus a few narrative parts in with a very surprising vocal interpretation of Blaze Bayley and a ultra-fast shredding piece of lead guitar signed by the one and the only, the other Swedish maestro Mr. Kee Marcello himself for a big fat guitar lesson and a serious beating .Before that we had a ballad with Mrs. Somerville but I think it's just a flat and ordinary number, very caricaturish, in a not really inspired style, before that it was the moment for the WOLFPAKK's leaders to be left alone in the vocal department at least, Voss / Sweeney are dueling in the single, a quite regular Euro Metal cut under the moniker of "Dark Revelation"…Not my favorite.The cover version of a legendary classic rock track, is as always, a double edged sword but secured with the approval and the additional playing of the early RAINBOW's keyboardist Tony Carey, to keep it in the right path, in this case "Run With The Wolf" is a good revision lightened in its rhythmic cadence structure as a result we have a more pompous rendition, with obviously the Hammond keyboards quite upfront.Finally, the album is the perfect sequel of the highly acclaimed debut; this sophomore episode fulfilled the dangerous task, with maybe a less impressive guest list but with a real focus on bringing back, proudly and under one united flag, the old nature of the pure roaring Euro-Metal mania." - Metal Temple
    $15.00
  • "Another album---another vocalist. I feel badly for bands that just cannot seem to retain a lead vocalist. Italy's Soul Secret started out with a guest singer, progressed to Fabio Manda's amazing voice on their sophomore album, and now have turned to Lino Di Pietrantonio to lead them. This choice, much like the album, is a solid one, though flawed in some ways.Soul Secret's third album is called "4", and, yes, that is confusing as hell. It represents a slight change in sound for Soul Secret, due not only to the change of singer, but also to the maturity of these guys as musicians. Indeed, I hear stylistic changes across the board. Soul Secret, if you are not familiar, are definitely a progressive metal band in the vein of Dream Theater, though I'm sure that's a shadow they don't want. Either way, though, it is the truth, as they rely on strong guitars from Antonio Vittozzi, sizzling keys from Luca Di Gennaro, foundational bass from Claudio Casaburi, and the ever present structure of Antonio Mocerino's drums.Their styles have changed somewhat, though. I am a huge fan of their previous album "Closer to Daylight", and the band as a whole has moved on from shorter, more structured tracks to longer and more varied concepts. This is both good and bad, as you won't really find much to sing along to here, but you will certainly find incredible instrumentals to admire (something Soul Secret has always done well). In fact, it seems like each and every track has a noteworthy instrumental, and some, like "Traces on the Seaside", "On the Ledge", and "Our Horizon", have multiple sections that are incredibly sublime. This is partially due to the new sounds for this band, especially Luca's wonderful keys. He has moved on from the standard atmospherics so often found in prog metal to new heights of solos, even leading the music many times. Needless to say, I'm very impressed with the large range of key tones used, too. Besides this, I sense a change for Mocerino's drums, too, as he has opted for a more delicate touch than his blast beating past. In addition, Vittozzi's guitars seem much more deliberate and inspired in composition.Thus far, we have a great third album called "4" that features some notable changes in sound. This is where my slight issues with the album appear. First of all, I do feel that it is a bit long. At 72+ minutes long, I feel like some of the incredible effectiveness of the first half of the album wears off by the end. Indeed, I feel like they realize it, too, as most of the really amazing rhythms are found in the first half. This is not to say that the latter half is bad. It's actually great, especially songs like the instrumental "Silence" or the addictive ending to "My Lighthouse". Heck, "Downfall" might be my favorite song on the album! The first few tracks, however, just gel so well that you barely notice the time pass.My other issue with this album is the Dream Theater sound. This is primarily because of Lino's vocal performance. Indeed, I think the band actively tries to avoid the DT sound by including plenty of small oddities, like harsh vox, crazy synth, and a notable lack of overpowering guitar. Lino's voice, however, sounds SO much like Labrie's vox on "Images & Words". This isn't a bad thing, as I don't think Labrie has ever sounded better. Lino does avoid the pretentious wailing (thank God), but there are definitely a few times where I could have imagined that I was listening to DT.Overall, though, this is another solid album from Soul Secret, and they really show their instrumental chops. Indeed, the ending epic "The White Stairs" opens with a fantastic groove that always makes me stop everything else I'm doing. For progressive metal fans, then, I don't think there has been a better offering so far this year. Be sure to get your hands on this album!" - ProgArchives
    $14.00
  • This album is wicked!  Cholo Visceral are an instrumental sextet from Peru.  Dual guitars, bass, drums, saxophone and sounds effects collide in a stoned out frenzy that sounds like David Jackson jamming with Black Sabbath.  Hell toss in some early Crimson madness also.  Not a super spaced out sound, just very intense angular guitar riffing and wild and wooly sax blowing.  Highly recommended."When we think of Peruvian rock naturally the first bands come to mind are Traffic Sound, Telegraph Avenue, Los Saicos and so on...When we progress forward to today there is quite the new revival scene going on in Peru and for most leading the way in the roots of the psychedelic underground scene is a band called Cholo Visceral hailing from Lima, Peru...Cholo Visceral is composed up of 6 members ages between 20-25 which create a high energy charged blast and an unmistakable sound frenzy delight for your ears complete with Horn, Drum and Guitar interplay of psychedelic Jazz not unlike early Miles Davis inprov with Pete Cosey,...This leaves one begging for more!!! Cholo Visceral's sound is tight with the classic Latin hints of past and new, wonderful time phrasings and this album is purely intense and all instrumental [for those who are worried about language barriers]Peru has always host to an astonishing variety of musical traditions that have managed to evolve concurrently... More astonishing, Peruvians as a whole seem to have embraced these traditions regardless of their class, regional or ethnic backgrounds and no doubt Cholo Visceral is now stepping up to take it's well deserved place in the great musical traditions and sounds we know and love from Peru...So kick back with you a nice cold Chicha de Jora and enjoy Cholo Visceral you will be amazed as i was and i cant wait to hear whats coming next from these fine lads...La Rataza is the title cut which grabs you fast and dosen't let go!!! Track 3 Silvia Escarmiento and 4 Kión are personal favorites and take full advantage of guitar solos, finely crafted sound treatments slightly off kilter drumming [i love] and spacial euphoria..."
    $26.00
  • "Machine Men is a group of young Finnish men (all in their early 20’s) playing traditional melodic heavy metal. The band formed in 1998, and after some demo activity, finally recorded their debut album, Scars & Wounds in 2002 on Dynamic Arts Records in Finland. Earlier this year, Machine Men signed a worldwide deal with Century Media Records. That brings us to the present, which sees Machine Men released their sophomore album, Elegies.Although they are from Finland, Machine Men have not followed the easy path of becoming another Stratovarius / Sonata Arctica clone. Instead, the band has chosen a more traditional metal flavor for its sound. A very obvious Iron Maiden influence flows through the entire album, yet the production gives the album a feeling more similar to Bruce Dickinson’s recent solo albums. Anthony, Machine Men’s lead vocalist sounds like Dickinson’s twin brother more than just a few times on this album. He doesn’t possess quite the range or power as the “Air-Raid Siren” himself, but Anthony is certainly an excellent vocalist that is perfect for this band. Just to make the Iron Maiden / Bruce Dickinson comparison more complete, I’ll point out that Machine Men (the band’s name) is also a song title from Dickinson’s Chemical Wedding album. That’s not all, check out the last track of Elegies. Yes, that version of Freak is a cover of the opening track of Accident of Birth!Well, after what you’ve read up to this point, you can surely guess that this album is not exactly original or groundbreaking. True. However, Elegies is an excellent album, proving that the band is great at what they do, and able to create songs that have a definite lasting value. Aside from the outstanding Dickinson vocal performance, strong guitar work is a key ingredient to the band’s music. Of course, the band loves to employ lots of dual leads and classy guitar solos. The rhythms forge ahead with a force and heaviness very similar to the heavier side of Accident of Birth. However, songs such as October and From Sunrise to Sunset see the band delve into slow and mid tempo territory, and they pull it off quite well. The guitar work is still crunchy and authoritative in both instances, which gives the songs a sense of urgency despite their slower approach. All around, the guitar sound is heavy, not sounding at all like a retro tribute to Iron Maiden. As I said earlier, the guitar sound is has a tone similar to Bruce Dickinson’s solo about, but technically executed in a way very similar to classic Iron Maiden. Having said that, Machine Men make no secret to hide their chief influences, yet they are able to add their own touch, and thus create an inspired and personal sounding album. Before I know it, 45 minutes is up, and the album comes to a close. That can only be considered a good thing, I suppose. Each of the songs is a keeper, no filler on this album at all. The guys add a nice, but not overpowering melodic quality to their music. A very nice balance is struck between heaviness, vocal prowess, and catchy, melodic parts. This all adds up to produce an album with lasting power that is sure to please. Although the Iron Maiden / Bruce Dickinson influence is inescapable, Machine Men are able to add just enough of their own touch to the music. Furthermore, the guys are just great songwriters.I hadn’t heard of this band before, but Elegies is enough for me to become a fan of Machine Men. This is the type of album that can easily stay in your listening rotation for weeks at a time and not get old. Obviously, fans of Iron Maiden and Bruce Dickinson’s solo work should check this album out. These guys certainly provide another dimension to the Finnish metal scene. As long as the guys keep coming up with quality songs and consistent albums such as Elegies, there’s no reason not to expect them to have a successful career." - Metal Reviews
    $4.00
  • "1999 tribute to prog rock's favorite trio featuring performances by Peter Banks (Yes, Flash), Martin Barre (Jethro Tull), Geoff Downes (Asia, Yes, Buggles), Glenn Hughes (Deep Purple), Pat Mastelotto (Mr. Mister), John Wetton (UK, Asia, King Crimson) and many others. 10 tracks in all, including interpretations of ELP classics like 'Karn Evil 9 1st Impression', 'Hoedown', 'The Sheriff', 'Endless Enigma' and 'Tarkus'."
    $8.00
  • "Since Phil Anselmo joined Pantera they had gone from strength to strength with sales increasing for each subsequent album and along with their worldwide reputation as a devastatingly violent and energetic live act; this album was highly anticipated in the barren metal years of the mid-nineties. The pressures of success had however, along with excessive alcohol consumption, exhausting touring duties and Phil's drug problems, caused a rift in the band and the recording of this album was anything but a smooth process. What this in-fighting, drug addiction and despair with success spewed forth was one of the most powerful pieces of pure hatred, attitude and anger filled music ever to come out of the American deep south.The first ten seconds is an aural assault on the listener as the screams come at you with the full force of all Phil's pent-up frustrations. The guitar barbarity and drum battery will quickly have you starting a mosh pit with any unsuspecting and unfortunate individual to cross your path. Before long Dimebag Darrell's trademark Southern Hard Rock, groove layered guitar flair rears its head and the riffs are as enticingly sinister as they are absorbingly technical. The lyrics lecture us on a wide variety of topics from the evils of the media to the corruption of the justice system. There are momentary breaks from this franticly heavy barrage on tracks like the comparatively slower "10's" and most notably on "Suicide Note Pt. 1" an acoustic tale of depression. Using unusual sound effects this sombre episode looks at the man contemplating suicide and divulging his innermost emotions. "Suicide Note Pt. 2" is Pantera's attempt at creating their fastest and heaviest offering yet as they get deep down into the angers and frustrations of life and offers a warning not follow the same path. One of the major standout tracks on this album is "Floods", the guitar solo on this song is widely renowned by guitar aficionados as one of Dimebag Darrell's very best in his illustrious career and the song itself is again a rather morbid look at the state of mankind.This album is anything but easy listening and can come across as quite disjointed on the first few listens, but given time you will soon find that this album is right up there with any Pantera album and the songwriting is at times truly astonishing. It may possibly be the heaviest album they ever did yet they never got too caught up on being heavy on this one. The slower tracks really add to its diversity and make the heavier tracks sound that much more heavy. You can see why this was the beginning of the end for this band, any group this angry and self righteous would find it simply impossible to stay together indefinitely and this album sums up everything Pantera were in one nice little package." - Metal Storm
    $6.00
  • First time on CD - reissued in a gorgeous gatefold mini-lp sleeve. "Live In Montreux" is actually their first album, released in 1975, consisting of just four long tracks. This is great jazz rock that will appeal to fans of Weather Report and Perigeo.
    $18.00
  • Joyous Lake was one of two dead on fusion albums recorded by the illustrious jazz guitarist.  Pat Martino's career is legendary and he is one of the premier guitarists in the world.  When he left Muse Records in the mid-70s he signed with Warner Brothers and briefly jumped on the fusion bandwagon.  Joyous Lake was the first effort in 1976 and Starbright followed.  Both are essential.Joyous Lake featured support from Delmar Brown (keyboards), Kenwood Dennard (drums), and Mark Leonard (bass).  Martino experimented with early guitar synthesizer in places and it sounds like he moved over to a solid body guitar since his tone cuts through like a knife - as opposed to his hollow body guitar tone that has a very muted treble.  High energy playing from a very skilled quartet.  This will appeal to fans of Al Di Meola, Return To Forever, and Mahavishnu Orchestra.  One of the great fusion albums of the 70s available from Japan at a bargain price!
    $12.00
  • Tony Bank's first solo album, originally released in 1979, is given a fresh breath of life with a new stereo mix courtesy of Nick Davis. This was done at the same time that Rutherford and Collins recorded solo albums as well - between the time of And Then There Were Three and Duke. Musically it pretty much fits into that gap as well. Its a concept album that sounds a bit like the lighter side of Genesis. One cool piece is the opener - "From The Undertow". It opens the album and was composed as the intro the the Genesis tune "Undertow". I remember seeing the British film "The Shout". Weird flick but that track was featured in the soundtrack and it was moody and creepy and un-nerved the hell out of me."Esoteric Recordings are proud to announce the release of 30th Anniversary editions of the album “A Curious Feeling” by Genesis founder member and keyboard player Tony Banks on Monday October 19th 2009. This classic album, inspired by the novel “Flowers for Algernon” by Daniel Keyes, was first released in October 1979 by Charisma Records. Recorded at Polar Studios in Stockholm, whilst Genesis were on a brief hiatus following the “And Then There Were Three” tour, this majestic work featured contributions from drummer Chester Thompson (a member of GENESIS for concert appearances) and vocalist Kim Beacon.Stylistically the album is equal to anything Banks composed for Genesis and includes the evocative instrumental “The Waters of Lethe” and the song “For a While” (released as a single in 1979 and issued as a Download single via iTunes on October 19th) among its highlights. Significantly, this new edition of “A Curious Feeling” has been remixed from the original master tapes by Nick Davis (who also remixed the entire Genesis catalogue in 2007) and Tony Banks, resulting in a more dynamic sounding album."
    $18.00