Foxtrot (Remix/Remaster)

SKU: 72438397792-5
Label:
Virgin Records
Category:
Progressive Rock
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One of the most important progressive rock albums ever recorded. New 2007 Nick Davis remix. 

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  • Brief Nocturnes is the band's 11th album.  It marks their return to Inside Out and quite frankly its the best album they have released in a very long time.  Chalk it up to Ted Leonard handling vocals or Neal Morse contributing writing to a couple of tunes?  Not sure.  I am definitely hearing more vitality and overt progginess in the compositions.  Ryo is going off his nut here - keys are whizzing all around - organ/'tron/the whole schmear - and Alan's guitar runs are matching him step for step.  Maybe I haven't been paying attention as closely as I should have for the past few years.  I do know that I'm enjoying the hell out of this.  Highly recommended.Mediabook edition is essentially a fancier hardbound version fo the domestic release.  No additional music.
    $9.00
  • "Alice Cooper's third album, Love It to Death, can be pinpointed as the release when everything began to come together for the band. Their first couple of albums (Pretties for You and Easy Action) were both largely psychedelic/acid rock affairs and bore little comparison to the band's eventual rip-roaring, teenage-anthem direction. The main reason for the quintet's change was that the eventually legendary producer Bob Ezrin was on board for the first time and helped the Coopers focus their songwriting and sound, while they also perfected their trashy, violent, and theatrical stage show and image. One of the band's most instantly identifiable anthems, "I'm Eighteen," was what made the album a hit, as well as another classic, "Is It My Body." But like Alice Cooper's other albums from the early '70s, it was an incredibly consistent listen from beginning to end. The garage rocker "Caught in a Dream" as well as the ass-kicking "Long Way to Go" and a pair of epics -- the Doors-esque "Black Juju" and the eerie "Ballad of Dwight Fry" -- showed that Alice was easily in league with other high-energy Detroit bands of the era (MC5, Stooges). Love It to Death was the first of a string of classic releases from the original Alice Cooper group." - All Music Guide
    $5.00
  • Domestic jewel box version includes the bonus track "I Wish I Could"."At the very least, THRESHOLD may well be the UK's answer to DREAM THEATRE; progging on since 1988, 2014 sees a follow-up to 2012's "March of Progress", titled "For the Journey". Their brand of Prog Metal (let's face it, every band does it differently) involves less of a focus on instrumental technical showy-offy-ness, and emphasizes the heaviness of individual riffs, and the soaring atmospherics and ambience."Watchtower on the Moon" is teetering on the edge between classic prog motifs, and spacey, futuristic, sci-fi permutations. Upbeat, with a (largely) followable jive, a strong, groovy riff carries the first half of the track, slightly downplayed to best put the vocals out there, and what stellar vocals they are. The blend of delivery of catchy hooks, power and diction, that programs the 'Prog' name with unadulterated listenability. Interestingly enough, as the song evolves, instrumentals are brought to the forefront, and the fabrics of time signatures are toyed with, allowing melodic interplay between guitar and keyboard to flourish. "Turned to Dust" is quite the heavy piece, if not the heaviest on the album; the riffs punch through with a percussive power belied by the flamboyant melody arrangements, and also happens to contain my favorite chorus on the album."Autumn Red" is a smooth, liquid display Prog excellence, the chisel struck by the juxtaposingly heavy riffs; the "keyboards from the 70s' used to great effect, perhaps raking up nostalgia in the PINK FLOYD fans among us. Lyric enthusiasts among us will be drawn to this track; as I perhaps didn't emphasize enough, Damian is the man for the job, delivering poetry into a new artform; pure, melodic diction that embosses the expansive tapestry set by the band. "Siren Sky" is easily my favorite piece; perhaps one of the more "metal" track on the album. The first instance of riffage surged forth tall waves of pure 'epic'. Never a dull moment on this track, the riffs prepared on the piece are emotive like no other on the album; I'm legitimately without words.Easily in my top 3 of this year's Progressive releases, it is no wonder that veterans of the genre are behind this mastery." - Metal Temple
    $11.00
  • Following the tour to support "World Record", Hugh Banton left the band and was shortly followed by David Jackson. Hammill and Evans reconstituted the band (name now shortened to Van Der Graaf) by adding Graham Smith (ex-String Driven Thing) on violin and Nic Potter on bass. The resulting album was more aggressive, more direct but somehow it was still VDGG (or at least a variation). This remastered set comes with three bonus tracks and plenty of extra stuff to look at in the booklet.
    $12.00
  • "‘Map of the Past‘, the fifth studio album from Cumbrian prog rockers It Bites, will most likely inhabit a strange, disturbing place in your heart. It’s a release that is obscurely beautiful and tender, but also one that can occasionally sound incongruous and lost in time. Very often, when it comes to progressive music, people will often justify anything odd by defending it with its genre. In the case of It Bites, there is a temptation to lean on a sound from their 80s heyday, which occasionally makes ‘Map of the Past’ seem staid and not just a little cheesy.In places this album is a wonderful, soaring retrospect vision of a forgotten generation, built around the ‘discovery of an old family photograph’. Although not a concept album per se, ‘Map of the Past’ explores the idea of lives captured within photographs, and reflects these contemplative visions with equally thoughtful music; album opener, ‘Man In the Photograph’ opens with the fuzz of radio static and soon leads into sound of organs and John Mitchell’s recollections borne from this one picture. The song blends into the more progressive sounding fare of ‘Wallflower‘ and its indulgent synth solo. The title track is more engaging, with soaring chorus vocals and disorientating time signatures, showcasing the tight musicianship and richly mature songwriting ability that has grown from their 30 years of existence.The strength of this album falters with ‘Flag’ and its irrepressibly outdated smattering of 80s memorabilia and Sting powered vocal lines, although the lyrics are undoubtedly more engaging than any Police offshoot. The album does have a tendency to wander into these unpalatable territories, but more than often than not redeems itself; as the grandiose, irresistible flounce of ‘Send No Flowers‘ resurrects its orchestral bombast and moves into ‘Meadow and the Stream’s artistically detailed backdrop, it’s clear that this album is more rollercoaster than record. The album finishes, as it started, relying on simply constructed songs and that radio static to bookmark the end; ‘The Last Escape’ is honestly beautiful, and seems even more so in contrast to the tumult of the remainder of the record.‘Map of the Past’ shifts between temporal paradigms rather than changing between tracks; it’s a scintillating album that is honest to itself, and stays true to It Bites’ form, even if it does rely on sounds from their back backcatalogue occasionally. Despite this, the depth of the album is phenomenal and is genuinely rich in its storyline, with music that peaks and troughs fittingly. Well worth a listen if you find yourself pointed at the progosphere." - Bring The Noise
    $5.00
  • "Alice Cooper wasted little time following up the breakthrough success of Love It to Death with another album released the same year, Killer. Again, producer Bob Ezrin was on board and helps the group solidify their heavy rock (yet wide-ranging) style even further. The band's stage show dealt with the macabre, and such disturbing tracks as "Dead Babies" and the title track fit in perfectly. Other songs were even more exceptional, such as the perennial barnstorming concert standard "Under My Wheels," the melodic yet gritty "Be My Lover," and the tribute to their fallen friend Jim Morrison, "Desperado." The long and winding "Halo of Flies" correctly hinted that the band would be tackling more complex song structures on future albums, while "You Drive Me Nervous" and "Yeah, Yeah, Yeah" showed that Alice Cooper hadn't completely abandoned their early garage rock direction. With Killer, they became one of the world's top rock bands and concert attractions; it rewarded them as being among the most notorious and misunderstood entertainers, thoroughly despised by grownups." - Allmusic Guide
    $5.00
  • Long awaited 5.1 remix of the classic Rush album.  Here is what you get...CD:1. Remastered edition2. 3 previously unreleased live tracksBLU-RAY:1 5.1 remix in 24/96 PCM and DTS-HD2. Stereo mix in 24/96 PCM3. Digital comic book, lyrics, liner notes and photo gallery
    $33.00
  • Ok this is the set for those of you that simply don't care about all the hi-res stuff.  This is the latest in the 40th anniversary series featuring remixes by Steven Wilson.  Here is what you get:CD 1 contains a new stereo remix plus 3 alternate mixes.  CD 2 contains the 30th anniversary remaster (the old mix) plus a radio advert and the rare "Easy Money" US promo EP edit.
    $18.00
  • "For composer and keyboard player Carl Westholm humanity's future is bleak, and ends in death. The apocalypse is at hand, and Westholm's Jupiter Society tells its inevitable and fateful story in the third effort From Endangered to Extinction. Again Westholm is helped by members of several Scandi bands including Carptree, Krux, Candlemass, Soilwork, Opeth, and Evergrey.Needless to say, with the bleak concept, this is a dark and despairing album, from lyrics to music, with Westholm's ominous synth layers establishing the foundation. Lyrically, the story revolves more around the invaders and destroyers of the earth, led by the Queen of Armageddon, possibly aided by some satanic element, mentioned in the song Invasion, rather than the people of earth.The latter, the people of earth, get some reference in the last three songs, but with little hope. The song Fight back is crushed in the vice of No Survivors and Defeat. It's not good day on Planet Earth. And this is where Westholm's song composition comes to the fore. The music intentionally propels the frustration, devastation, and defeat of humanity in both tone and power. In other words, this dark and bleak story gets played out in a proper musical context and, therefore, makes From Endangered to Extinction creative and engaging. But considering the subject matter, again, entertaining may become a highly contested moot point. Recommended." - Dangerdog.comThird album in the futuristic prog metal series from Carl Westholm.  You may know him from his involvement from Carptree, Krux, and Candlemass.  Westholm always puts together an interesting cast of musicians for these projects.  This time he draws from bands like Krux, Carptree, Candlemass, Soilwork, and Evergrey.  Most notable are the great Mats Leven (as one of a few lead vocalists) and Leif Edling of Candlemass.  Intense apocalyptic stuff with a cyber metal angle to it.  Highly recommended. 
    $15.00
  • With new kid on the block, Mike Mangini, fully assimilated into the group, Dream Theater has come up with a stunning new album.  Expect nothing less than full on prog (with a nice tip of the cap to Rush in spots). Enigma Machine may be the best instrumental piece they've cooked up yet.  Highly recommended.This is the CD/DVD deluxe edition.  It arrives in an embossed digipak with expanded artwork from Hugh Syme.  More importantly, the DVD contains a 5.1 mix of the album. 
    $19.00
  • While the Rising Force album was not Malmsteen's first entre into the metal world it certainly turned it upside down.  The Swedish guitarist was heavily influenced by Uli Roth and Ritchie Blackmore as well as classical composer/violinist Niccolo Paganini.  Essentially his extreme virtuosity defined the "neoclassical metal" sound and has remained a signature of his ever since.The Rising Force debut featured a killer lineup - Barriemore Barlow (Jethro Tull) on drums, Jens Johansson (keys), and Jeff Scott Soto (vocals),  Malmsteen handled all guitar and bass parts as well as the Moog Taurus pedals.  Very much a classic.  Highly recommended.
    $5.00
  • Sweden’s PAIN OF SALVATION continue their ever-progressing, highly sophisticated musical journey with a double album project, “Road Salt”, which showcases this outstanding band at its most emotionally intense, but also leaning towards a more classic, yet extremely colourful 70’s Rock style. In a world governed by increasingly rigid rules and conformist conceptions of art, PAIN OF SALVATION have created their own niche on the international music scene. Their intelligently composed and cleverly arranged songs have mixed metal, pop, funk, disco, blues, goth and folk with Arabian and Oriental influences plus other more or less extreme musical styles into a homogenous whole. PAIN OF SALVATION consciously do without any kind of artistic compromise, the only criterion for their compositions being top quality and profound contents. “Skills and complexity should be part of the machinery, not the functionality or design,” says the band’s frontman Daniel Gildenlöw, “so I try to hide it away where the engine is supposed to be – under the hood of a machine built mainly to process ideas and emotions.” This is precisely why their albums go down so well with fans and media from a variety of camps, from the progressive metal scene through nu metal to prog rock and even world music.Since the foundation of his first significant band, Reality, in 1984, mastermind and bandleader Daniel Gildenlöw has consistently followed his own concept of diverse, technically accomplished and border- transcending progressive rock. He renamed the band to PAIN OF SALVATION in 1991 and has ever since released six studio albums and one unplugged recording, among them classics such as “Scarsick” (2007), “BE” (2004) and “Remedy Lane” (2002). Each of these releases has impressed as a multi-layered concept album, dealing with tough socio-political themes, while manifesting very intimate, individualist views at the same time.PAIN OF SALVATION’s latest release in November of 2009, the “Linoleum” EP, marked the advance introduction of the “Road Salt” double album project and served as small forecast of greater things to come. The band backed up the launch of the EP with a string of headlining tourdates throughout Europe and Russia, a run of support shows for Dream Theater in Australia as well as with the participation in the Swedish Melodifestivalen, the national competition for the Eurovision song contest, an event followed by Millions of viewers in national TV. PAIN OF SALVATION appeared in the contest with the new album’s atmospheric title track ‘Road Salt’ and the quality of the song as well as its performance not only left an impressing note with the audience despite the band’s rather untypical character for such event, but also catapulted the band into mainstream media attention. The band successfully moved into a “second chance” next round of the event but in the end didn’t manage to qualify for the finals. Nevertheless, the song ‘Road Salt’ acquired massive praise from all corners within Sweden, climbed the national single charts up to # 12 (as digital only release!) and consequently sets a great pace to kick off the new album’s release.“Road Salt One” (previously also referred to as “Road Salt Ivory”) includes not only the album’s magnetic title track alongside the previously mentioned ‘Linoleum’ EP track (for which the band shot an energetic performance video clip), but also features other instant highlights like the captivating opening song ‘No Way’, the awe-inspiring ‘Sisters’ (which will serve as second single release) or the acute ‘Where It Hurts’ (which will be the second video clip), making “Road Salt One” a creative rollercoaster of the highest quality and strongest impact, sure to once more please the band’s committed followers but also likely to reach new listeners due to the music’s versatility and its richness of texture as well as lyrical depth.Gildenlöw further comments: “Road Salt One is twelve tracks of sweaty gravel, asphalt butterflies, untrodden paths and brave decisions. It will not beg for your liking, it will not make excuses, it will not carry you safely across the dangerous waters. If you don't pick up its pace it will leave you stranded at the curb of the road. Yes, Road Salt One might indeed be a harsh lover, but if you have the guts to follow it whole-heartedly and dare to surrender to its voice, it will take you places you need to visit.” 
    $5.00
  • "German heavy metal marauders Scorpions recorded seven studio records before breaking in to the U.S. market in 1982 with Blackout. The album became the group's first platinum disc in the U.S., and the dynamic single "No One Like You" became a staple of album rock radio. While the Scorpions had created powerful anthems and epic rockers in the past, Blackout mixed the ingredients just right. The title track was an endorphin rush of fast-riffing guitars and electrified, high-pitched vocals that culminated with the sound of shattering glass. "Can't Live Without You" was a powerful melange of flash, firepower, and pure melody, and the slow, surging "China White" sounded like a psychedelic interpretation of Led Zeppelin's "Kashmir." After years of ignored visas, Scorpions had finally arrived in America."  -- Jon Wiederhorn
    $5.00
  • Remastered edition with two bonus tracks."Searching for a way to retool their sound, Judas Priest attempted to accentuate their melodic side on Turbo by incorporating synthesizers and '80s pop-metal stylings ("Wild Nights, Hot & Crazy Days" sounds more like Poison, albeit with synths). The restrained songcraft sometimes pays dividends, especially on the synth-driven leadoff track, "Turbo Lover," easily the best song on the record and a successful reimagining of the Priest formula. But often, the band simply sounds directionless, unsure of exactly which path to accessibility it should follow; moreover, the synth-guitar backing and overly polished production give the album an oddly mechanized, processed feel. It certainly doesn't help most of the material, which is often at least competent but rarely inspired enough to make much of an impression. That's unfortunate because Turbo's best moments indicate that with a clearer focus, the album could have been a creative success; however, it's overall Judas Priest's weakest release since Rocka Rolla." - All Music Guide
    $5.00