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  • Third album from this excellent Belgian band. The Intrigue Of Perception finds them making the transition from a stoner/space band to a progressive rock outfit. While later albums are a touch more refined, this album still has that raw energy from their stoner rock days. The addition of sax player Steven Marx reminds of Mel Collins in "Islands"-period King Crimson. More than enough Mellotron for those (like myself) that can never have enough. Highly recommended.
    $10.00
  • This one is a great deal. Small slipcase edition of the five remastered Soft Machine albums: Third through Seven. Albums are in simple jackets with cover art (there is a link to a website with full album credits). Comes out to 5 bucks a disc - can't beat that!
    $25.00
  • Its been five years but The Flower Kings are back from their hiatus. Without missing a beat they offer up their signature epic length tracks of symphonic rock. Funny thing...I've gotten used to hearing Lalle Larsson play with Roine and Jonas over the past five years. I forgot how good Tomas Bodin! 
    $11.00
  • "Santana's fourth album, Caravanserai, finally being reissued and remastered by Columbia Legacy/Sony, is a landmark recording for the band. Originally released in 1973, this album marked a change for the band, as they were moving away from the Latin tinged psychedelic pop rock of their earlier recordings to a more ethereal, jazz fusion based sound. Change also brought about line-up shuffles, as after this album second guitarist Neal Schon and keyboard player/singer Gregg Rolie left the band to form Journey. Famed keyboard virtuoso Tom Coster made his first appearance on this release, and he later spent many years alongside Carlos Santana in various incarnations of the band. The influence of groups such as Weather Report, Mahavishnu Orchestra, Lifetime, Miles Davis, Larry Coryell's Eleventh House, and John Coltrane are heard all throughout this CD. Latin percussion mixes with swirling organ while Santana and Schon's guitar licks run rampant on each track. While the bands signature melody on "Song of the Wind" still remains a classic, it's the extended breakouts on tunes like "La Fuente Del Ritmo" , complete with an amazing electric piano solo from Coster, and the energetic "Just in Time to See the Sun" that really shine. Drummer Mike Shrieve comes into his own on this albums more jazzy context, and the percussive tandem of Jose "Chepito" Areas, Mingo Lewis, and the legendary Armando Peraza provide the perfect Latin rhythms. "Every Step of the Way" features some wicked guitar work from Schon and Santana, supported by manic percussion and raging organ from Rolie, and stands out as a classic example of Latin jazz fusion.My advice to you all, don't walk, but run to your local CD shop and indulge yourself in this timeless classic. The remaster job is superb, with every instrument crisp and clear, and you get a nice booklet that goes into the history behind the album. A must have!" - Sea Of Tranquility
    $7.50
  • 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
  • One of the classic Italian prog albums comes across as a cross between Jethro Tull and Led Zeppelin. Flute monster accentuated by the great keyboard work of Baffo Banfi.
    $76.00
  • "Over a nearly 35 year-long career, Miriodor have continuously produced music that is intricate, melodic,challenging and filled with both humor and fire. Their albums are captivating new-music gems filled with great musicians, terrific tunes and a distinctive and personal sound.Miriodor have performed in front of thousands of listeners at major music festivals in North America and Europe.Cobra Fakir is the group's eighth studio album."
    $15.00
  • "Once upon a time there was a guitar god who had grown bored with all his fame, riches and glory. He longed for something more than another multi-platinum selling record. He desired not simply acclaim, but respect. He knew to get it he would have to walk away from the distinctive style that made him popular and wealthy. It was a risk to confuse his band and his fans by making a radical change in his musical direction. But he did it anyway and broke up the classic version of his band, alienating much of his audience in the process.It must have seemed worth it at the time to Carlos Santana. Appearing at Woodstock had announced to the world there was a new guitar hero on the scene, a skinny Mexican who fused elements of rock, Latin, jazz and funky R&B in one soul-stirring stew. Santana delivered on the promise with a trilogy of terrific albums.The initial effort in Santana's amazing adventures in fusion, Caravanserai (Columbia, 1972), is the sound of a band uncertain of its music and its leader equally uncertain of the direction he wants to take them. Following Santana III (Columbia, 1971), it must have puzzled executives at Columbia when Santana presented it to them. While it has its definite highs, the low points of Caravanserai are very low.Gregg Rolle was skillful on the organ, acceptable as a vocalist and totally out of his league trying to fake it as a jazz musician. Rolle simply lacked the feel for this dense, hook-free tunes and soon would leave to form Journey, taking guitarist Neal Schon with him.The record is disjointed as Santana can't fully let go of the Latin rock that made him wealthy and famous. Never the strongest vocalist, Rolle sings on three unmemorable songs. The songs aren't strong and neither is the playing. You can almost feel Santana's frustration. If he were going to succeed in this new path he was on he would need something conspicuous in its absence from Caravanserai.He would need better musicians to play the way he wanted and better music for them to play. Carlos took the first step when he joined with guitarist John McLaughlin for Love, Devotion and Surrender (Columbia, 1972). Santana brought along members of his band and teamed with McLaughlin's Mahavishnu Orchestra to produce an eclectic electric guitar summit that perplexed fans, critics and record executives.Welcome solved both problems. David Brown (bass) and Michael Carabello (percussion) were already out by that time and Rollie and Schon were eyeballing the exit sign as well.Santana has always fused the spiritual with the secular and Welcome is as close as the guitarist has ever come to the former with no regard for the latter. Welcome yielded no hit singles and was never conceived as an album rock radio would play. This is Santana's John Coltrane/A Love Supreme moment: creating transcendent, reverent, passionate music conceived and executed by a virtuoso artist without the slightest trace of concern for commercial considerations.The opening drone of the two organs on "Going Home" played by Tom Coster and Richard Kermode build gradually and soar high with grandeur. Santana lays out here and frequently fades into the background entirely. He is finally secure in his own playing and doesn't have to take the lead. His new-found confidence comes from knowing he finally has a band capable of delivering the goods and they do. Welcome is every bit as much of a classic as the first three Santana albums. It sounds great nearly 40 years after its release.The only comparable rock guitarist who altered his sound as drastically as Santana did with Welcome is Jeff Beck, with his career-altering Blow by Blow (Epic, 1975). The critical difference is Beck was taking the next step after a series of unremarkable bands and records that had flopped. Santana was at the peak of his fame when he drastically altered course and followed the path of A Love Supreme in seeking to make music that satisfied his soul, not a record company's ledger sheet.Even Robert Christgau, the noted (and notorious) rock critic/curmudgeon, and former music editor of The Village Voice smiled upon Welcome."More confident and hence more fun than Caravanserai, this proves that a communion of multipercussive rock and transcendentalist jazz can move the unenlightened—me, for instance. Good themes, good playing, good beat, and let us not forget good singing—Leon Thomas's muscular spirituality grounds each side so firmly that not even Flora Purim can send it out the window."Not everybody completely "got" Welcome in 1973. It wasn't slightly different like Caravanserai, with one foot still in rock and another with a toe dipping lightly into not only jazz fusion, but even free jazz. The signature sizzling guitar solos were there, but more restrained and at times even submerged within the collective of the group.The secret weapon is Michael Shrieve's energetic drumming and the dual keyboard attack of Coster and Kermode. They push and pull Santana to go beyond and stop holding back. Some have called the album disappointingly thin and self-indulgent, but that's a harsh assessment. There are no hit singles or any concessions made to radio here. Maybe an adventuresome jazz station would play "Samba De Sausalito," but even the vocal tracks, "When I Look Into Your Eyes" and "Light of Life" feature Leon Thomas' vocals. Alternating between soulful singing and off-the-wall yodeling, Thomas is perhaps the most polarizing of the many Santana vocalists.The other unique aspect to Welcome band was the band's first female member, Wendy Haas, a vocalist and keyboard player Santana plucked from Azteca, the same band he found a hot-shot 17-yr-old guitarist named Neal Schon, the future guitarist of Journey.If Welcome is the summit of Santana's jazz fusion era, Lotus (Columbia, 1974) and Borboletta (Columbia, 1974) are the sound of that era falling off a cliff. Lotus was a mammoth three-record live set that was only available as a high-priced import, but in 1991 Columbia released it domestically whittling it down to two CDs. It's brilliant, messy and at times, total overkill in overlength and Thomas is inept trying to front Santana standards such as "Black Magic Woman." Borboletta showcases a sullen Santana fronting an equally lethargic band and cursed by the ugliest cover art ever to appear on a Santana record. It's the splat of the band finally hitting the proverbial wall.frustrated by tepid record sales, Santana ditched his dalliance with jazz and returned to Latin rock glory with Amigos (Columbia, 1976). Though he was still billed as "Devadip" Carlos Santana he was drifting away from his guru, Sri Chimoy, and would leave both him and jazz behind for the rest of his career. Blues For Salvador (Columbia, 1987) won a Grammy for Best Instrumental and Santana Brothers (Universal/Polygram, 1994) is good, but these are primarily instrumental recordings and not really jazz.The Swing of Delight (Columbia, 1980) pairs Santana with trumpeter Miles Davis' classic quintet colleagues Herbie Hancock, Tony Williams, Ron Carter and Wayne Shorter, with Santana's blistering guitar leads replacing the lonely fire of Davis' trumpet, but the result isn't as incendiary as might have been hoped for. Most of the songs on The Swing of Delight are merely star-filled jam sessions lacking the structure and passion of Welcome.Santana has continued to release instrumental albums, but they aren't jazz and since the 15 million-selling Supernatural granted him late career superstar status on him in 1999, he has wasted the better part of a decade chasing similar success minus similar results. The bottom of the barrel is Guitar Heaven, which sounds like the name for a video game but is a pandering mess of classic rock covers.At this point in his life, Santana should be financially secure and has married his second wife, jazz drummer Cindy Blackman. In May he released the 22nd Santana album, Shape Shifter (Starfaith, 2012). With the exception of one vocal track it is a recording of instrumentals exclusively, with just the man and his band and no awkward guest stars crow-barred in except his son Salvador playing keyboards.In an interview, Santana explained why he was taking a break from his overly commercial direction of the past decade."In a lot of ways, yes, because I don't need to accommodate lyrics, and I don't need to accommodate artists. I say this in a funny way, but it's more about letting a Mexican play the guitar, you know?""I'm never going to wait so long to brew 'em like this anymore. I'm going to make sure that I do one album like this and then another kind. I remember reading that John Coltrane would do one Pursuance album, and then he'd do a ballads album where he'd hardly play a solo—he'd just play the melody verbatim."Shape Shifter may be a slight retreat for Santana from pop music and a return to pulling power chords from his guitar, but it's not going to be "Welcome: The Sequel." That was a different man making different music in a different time. The Santana of 1973 is not the Santana of 2012, but that man would not be the one he is now had he not chased his inner Coltrane and made a record as bold, brave and eternally beautiful as Welcome."- All About Jazz
    $7.50
  • One of the great Italian symphonic prog albums of the 70s. Recommended to fans of Banco and PFM. New jewel case edition from Vinyl Magic.
    $15.00
  • First album from this Italian band featured a heavier sound not to far from Deep Purple.  There are prog and psych moves so if you want to call it "proto-prog" you wouldn't be far off the mark.  
    $15.00
  • Remastered edition of this 1973 classic from Italy. Duello Madre featured members of Osage Tribe and Circus 2000. The quartet consisted of guitar, sax/flute, bass and drums. Producer Gian Piero Reverberi contributed keyboards on two tracks. The music is an interesting juxtaposition of guitarist Marco Zoccheddu's obvious hard rock influences and Pippo Trentin's jazz oriented sax and flute. In some ways this is a musical foreshadowing of Soft Machine's Bundles. This one is quite a burner and is highly recommended.
    $16.00
  • One of the greatest of all Italian albums. Got a nice aggressive vibe mixed in with the complexity. New edition from Vinyl Magic comes is a gorgeous mini-lp sleeve.
    $17.00
  • 2007 edition features the Nick Davis stereo remix and remaster. Not available domestically.
    $13.00
  • "From December 1971 to April 1972, Carlos Santana and several other members of Santana toured with drummer/vocalist Buddy Miles, a former member of the Electric Flag, and Jimi Hendrix's Band of Gypsys. The resulting live album contained both Santana hits ("Evil Ways") and Buddy Miles hits ("Changes"), plus a 25-minute, side-long jam. It was not, perhaps, the live album Santana fans had been waiting for, but at this point in its career, the band could do no wrong. The album went into the Top Ten and sold a million copies." - All Music Guide
    $7.00