Heaven Tonight ($5 Special)

SKU: EK65648
Label:
Epic/Legacy
Category:
Classic Rock
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Remastered with 2 bonus tracks.

"Heaven Tonight, like In Color, was produced by Tom Werman, but the difference between the two records is substantial. Where In Color often sounded emasculated, Heaven Tonight regains the powerful, arena-ready punch of Cheap Trick, but crosses it with a clever radio-friendly production that relies both on synthesizers and studio effects. Even with the fairly slick production, Cheap Trick sound ferocious throughout the album, slamming heavy metal, power pop, and hard rock together in a humongous sound. "Surrender," the definitive Cheap Trick song, opens the album with a tale about a kid whose parents are hipper than himself, and the remainder of the record is a roller coaster ride, peaking with the sneering "Auf Wiedersehen," the dreamily psychedelic title track, the roaring rocker "On Top of the World," the high-stepping, tongue-in-cheek "How Are You," and the pulverizing cover of the Move's "California Man." Heaven Tonight is the culmination of the group's dizzying early career, summing up the strengths of their first two albums, their live show, and their talent for inverting pop conventions. They were never quite as consistently thrilling on record ever again. " - Allmusic

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  • Riverside vocalist Mariusz Duda returns with his fourth Lunatic Soul project.  Duda plays all the instruments except drums which are handled by Indukti's Lawrence Dramowicz.  The last Lunatic Soul album, Impressions, was an all instrumental effort that explored ambient and post-rock territory.  Walking On A Flashlight Beam is a bit similar but Duda does provide vocals from time to time.  Like all of the Lunatic Soul albums that preceded it, WOAFB has a very dark and mysterious vibe to it.  Duda is moving away from exclusively using acoustic instruments.  Textural electronic keyboards predominate and I'm pretty certain he plugs his guitar in as well.  This is another one of his albums that will suck you in.  Highly recommended." I'll come right out and say that Lunatic Soul's new album "Walking on a Flashlight Beam" was my most anticipated album of 2014. Why? Well, Mariusz Duda (of Riverside fame) has created such a brilliantly natural sound in his side project that it has become one of my favorites, not to mention my family's, as well. We simply can't get enough of the acoustic, airy atmospheres combined with the dark, throbbing feelings that swing between transcendence and despair. Lunatic Soul's first three albums are masterpieces of emotion and epiphany, and so any follow-up would have to be something special. Duda, however, has delivered in the most unexpected, brilliant ways possible."Walking on a Flashlight Beam" (WOAFB) is an experience that is as much about lyrics and feelings as it is about music. You need the whole picture in order to understand it truly. Duda has been very forthcoming with theme for this album, as it seems to be rather personal. This album is about those people that prefer to shut themselves in their rooms/homes in order to immerse themselves in the creations of others: films, books, music, games, etc. I think it strays between this setting, however, and the same type of person that shuts themselves up, preferring to create art in private.Like I said, this theme is important to the music. WOAFB is full of bleak tension, cold sublimation, and beautiful simplicity. Duda was inclined to create this album with a wide variety of ethnic instruments, tones, and sounds; from cold trance beats contrasted against radiant acoustic guitar to world music influences combined with a new addition to the sound palette of Lunatic Soul: a subtle, heavily distorted electric guitar that crafts some charging, tumbling grooves. Duda has really expanded the sound of his pet project, and it impressed me to no end to hear the vast variety of sounds that were able to come together into a unified, cohesive mix. Sometimes it feels like Duda has gone post-rock, such as in the opener "Shutting out the Sun". Sometimes Duda simply sings a beautifully wrought melody, as in the spectacular "Treehouse" or one of my favorites, "Gutter" (the chorus will be in your head for weeks). Yet, sometimes Duda just wants to lay down an incredible bass-driven instrumental section, as in the winding, complex "Pygmalion's Ladder".Every track really feels just right. "Cold" feels, well, cold. It feels bare and desolate, with a simple melodic line added to enhance the stark feelings present. Duda is so good at expressing emotion in his music. Yet, this album has really impressed upon me how good he is at creating instrumental sections, as this album is full of them. The supremely subtle title track is an amazing example of this, as Duda builds and builds layers and layers of melody, harmony, tone, and effects. In the end, this album is so concentrated and makes so much sense from track to track that I can barely pick a favorite.This might be my album of the year. Don't be surprised if it is. I know I sound like a Duda fanboy (which I kinda am), but this album reaches the heights of the last three, and then expands on them. Incredibly catchy, wonderfully complex, and darkly eclectic, "Walking on a Flashlight Beam" is a journey into a confined consciousness of creativity, privacy, and enigmatic genius. Duda has once again proven his capabilities." - ProgArchives
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  • "Most progressive music fans will recognize guitarist John Wesley from his work as touring member with Porcupine Tree over the last several albums. Yet, Wesley also has an extensive solo collection as well, and he expands it with his sixth album, Disconnect.The album is defined by one singular element, Wesley's guitar playing. Disconnect is definitely a guitar driven prog record. His playing evokes the styles of David Gilmour, Alex Lifeson, Steve Wilson, and maybe even some Jeff Beck. (Lifeson guests on Once A Warrior.) Wesley's sound on many songs is generally sharp and high-pitched as with Once A Warrior, sometimes sounding psychedelic as within Disconnect, and then kinetic, yet muted, within Take What You Need.There's a lot of weight to many songs as well, definitely tipping the album towards progressive metal. When a song does appear to be somewhat lighter at the start, like Gets You Everytime or Mary Will, Wesley jumps in with those slashing guitar licks to slice your ears into tiny little pieces, like stir fry vegetables. If there is a drawback to the album at all, it's that the slashing sharpness of the guitar is pervasive and can get more than a little shrill at times. But there are some lighter pieces here, namely Window and more so Satellite, where Wesley dials up some acoustic guitar in the mix.Briefly, the other significant element here is Wesley's vocals. He has a great melodic voice, emotive and passionate at times, and definitely pleasing. With guitar in hand, a strong voice, and creative compositions, John Wesley has delivered another fine album with Disconnect. Easily recommended." - Dangerdog.com
    $10.00
  • "Vinyl LP pressing. 2013 release, the fourth from this Prog/Alt-Rock project from Israeli Rock musician Aviv Geffen, and band that also features Steven Wilson and other special guests Brett Anderson (Suede), Jonathan Donahue (Mercury Rev) and Vincent Cavanagh (Anathema). Blackfield was started by Aviv and Steven in 2001 and have previously released the critically acclaimed albums Blackfield (2004), Blackfield II (2007) and 2011's Welcome To My DNA. Since Welcome To My DNA, Geffen's profile has continued to rise and Aviv has worked with legendary producers Tony Visconti and Trevor Horn, played live with U2 and Placebo, and has been a judge on the Israeli TV show, The Voice. Aviv contributed the writing and vocals on Blackfield IV, with Steven Wilson - who also mixed the album - adding guitar and vocal parts."
    $23.00
  • Perhaps because of the timing, but I always considered this to be their "Foxtrot". "Pawn Hearts" features the epic masterpiece "A Plague Of LIghthouse Keepers" which for lack of a better comparison is the band's "Supper's Ready". This remastered edition comes with extensive liner notes, photos and a host of bonus tracks. Originally conceived as a double album, there were a number of tracks still sitting on the shelf, unreleased. They are: "Theme One" (original mix), "W" (original version), "Angle Of Incidents", "Ponker's Theme", and "Diminutions". Absolutely essential.
    $10.00
  • "Album art can certainly set the tone and expectations around an album.  A quick look at the cover for Enlighten by Sleeping Romance instantly sends my mind to a gothic, dark medieval setting and that is the right place to go with this release.  Recently signed to Ulterium Records, Sleeping Romance from Modena, Italy has released an epic symphonic metal album that is very impressive for a debut.Being from Italy, my first thought was that this may be an album similar to that from Mourn In Silence, which I really liked as it is a blend of gothic, symphonic, power and black metal, but that is not quite where the sound of Sleeping Romance is.  Those familiar with female-fronted symphonic metal bands like HB, Within Temptation, Delain and others know what to expect from this genre and it is all here.  This is symphonic metal that borders on hard rock and power metal at times.  At times, the songs do seem a bit too formulaic for my tastes as most start with an orchestral intro with beautiful clean vocals and then the “metal” parts of the song kick in with much of the verses consisting of just drums and bass with the vocals at the forefront.  There is nothing wrong with this formula especially when done as well as it is here, but this does introduce a bit of predictability to the album.Any review of this album simply has to have some lines devoted to the vocals of Federica Lanna.  Throughout the entire album, her vocals are one of the standout qualities of the album.  At times, quiet, at other times soaring, but always fully in control with a great range and tone, these are the vocals designed for this genre.  Now, given the implied darkness and gothicness depicted in the album cover, I was expecting a bit of a darker tone from the vocals but they are somewhat surprisingly bright, complementing the music very well.   Quite a few other bands choose to employ some unrestrained, strained screaming female vocals or employ some deep guttural male vocals to provide a contrast to the clean vocals, but Sleeping Romance have chosen to highlight Federica’s vocals.  I would have liked to hear the vocals move a bit more toward the edge of being out of control, but that’s just my personal preference.  With the lush orchestral arrangements often being in the forefront and dominating the sound, having the vocals remain restrained works well with the overall sound.In terms of overall sound on the album, the production quality is very high and the emphasis is definitely toward the symphonic and away from the metal.  In fact, I found myself thinking some was definitely more power metal influences at times as well.  Some of the songs instantly reminded me of Evanescence with the use of certain keyboard effects and those would be hard to miss for anyone familiar with that band.  Despite some similarities, the overall sound of Sleeping Romance is a bit brighter than Evanescence and others in the genre, not just the vocals as mentioned earlier, but also the instrumentation both the metal and symphonic.  More of a light of dawn feel than a darkness of sunset feel, if that makes any sense.  There were moments that surprised me a bit as well. For instance the song “The Promise Inside” starts out with some of the Evanescence sound and feel and then morphs into almost a power ballad in the chorus that sounds strikingly like that from the song “Alone” by Heart in terms of tone and phrasing.  Thankfully, the song has much more to it than that including a string section in the middle and later in this song I found myself liking how the drums by Francesco Zanarelli carried parts.  “Devils Cave” certainly starts out as the darkest and heaviest track on the album, and carries that feel through much of the song with a hammer-like  driving guitar, bass, and drum beat through the verses, which picks up to a gallop in later parts of the song.  Vocal tone is a bit darker here through the verses as well and is more along the lines of what I was expecting after seeing the cover.  All in all, this song is a good example of an epic symphonic metal song due to the seemless combination of orchestral and metal elements, seemless transition between them, and the back and forth shifts between styles.  For example,  midway through the song there is a symphonic interlude with some spoken word from Federica that shifts into some beautiful clean singing and the return of the metal elements and one of the few guitar solos on the album before returning to a true symphonic metal section.Despite some of the songs leaning toward the formulaic, Enlighten is a great debut album of symphonic metal that highlights both the phenomenal vocals of Federica Lanna but also the intricate symphonic/orchestral arrangements of Federico Truzzi and makes a great addition to the genre." - The Metal Resource
    $14.00
  • CD/DVD digibook.  The DVD includes a 5.1 and DTS surround mix."Prog is, at times, a strangely divided world. On one side are the true progressives, fiercely determined to push music forward into the future. On the other side stand the stuck-in-the-mud individuals whose primary objective is to cling tenaciously to the ways of the past.Cheating the Polygraph is guaranteed to ruffle the latter camp’s feathers. A collection of Porcupine Tree songs reworked using big-band instrumentation and a modern-minded approach to arrangement, calling this album quirky would be something of an understatement.Some are likely to struggle to get past the superficial level of instrumentation, timbre, and tone – but beneath it can be felt the pounding pulse of pure creativity. On Cheating the Polygraph, timeless prog-rock tunes such as The Sound of Muzak, Heartattack in a Layby, Futile, and this long-player’s title track are all given superficially jazzy makeovers that actually owe as much to the influence of Frank Zappa as they do to less batshit-crazy genius bandleaders of decades past.For me, the band-falling-down-a-spiral-staircase groove of The Pills I’m Taking is a definite highlight – but that does nothing to take away from the masterful musicianship on display throughout every last microsecond of Cheating the Polygraph‘s running time. This eight-track album took five years to make, and the labours and love that have been poured into its creation are as tangible as they could possibly be when communicated through ones, zeroes, and soundwaves. Unsurprisingly flawless, but also unexpectedly addictive and moreish." - The Musical Melting Pot
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  • Another winner from this fine Savatage offshoot.  
    $15.00
  • Guitarist/vocalist Clay Withrow is the heart and soul behind Vangough.  He's made some fine albums in the past but this is clearly his best as you can tell that he's exerting more of his own vision.  The previous albums were fine slices of progressive metal, bu they were clearly influenced heavily by Pain Of Salvation.  While there is some of that early PoS feel, Between The Madness has more of Clay than Daniel.  Its very angst driven music - from the vocals to the grinding guitar solos.  This is one pissed off band.  Its a non-stop prog metal roller coaster ride.  BUY OR DIE!"Over the last two full-length albums leading up to this, the band’s most important release, one thing is strikingly clear: Vangough has been eating their Wheaties. Whereas the last album couldn't find its center of gravity despite merits and high replay value, "Between The Madness" bridges the gap between Vangough's left brain and right brain. Moreover, the band feels much more balanced with the addition of drummer Kyle Haws. Further, it sounds like mastermind Clay Withrow had pushed himself beyond his limits to expand the Vangough tone palate.On the “Acoustic Scars” EP, Withrow developed a vocal technique that finds full maturation on "Between The Madness:” the rage-sing. Almost a yell, but neither a scream nor a simple vocal fry and free of any pitch interference, Withrow's rage-sing makes the lyrical intent as clear as it can be. The album offers bile to many parties, lyrically, and puts the listener behind a sometimes uncomfortable but necessary first-person perspective: any other perspective simply would not do justice to the intent. Vangough has always been more effective at conveying feelings than telling stories, but never before had the songs had such a natural novel-like flow to them. All the while, Withrow peppers his versatile clean singing with elaborate layers of harmony and polyphony, making for subtly different listening experiences each time.The overall sound hasn't drastically changed, and even shows some musical nods to prior songs. In "Vaudeville Nation," a scathing condemnation of a track, a clever link is established with "Mannikin Parade" around 4:28. The main melody of the latter is re-introduced on guitars in a straight-played manner. Later in the song, a similar "Mannikin Parade" vocal melody emerges in the line "...and burn the circus to the ground," and up through the yell following it. Further, continuing the storyline started with "Road To Blighttown" on the “Acoustic Scars” EP, "Depths of Blighttown" adds a fitting dark and ominous chapter to the story.The added input from Haws and bassist Jeren Martin have made the songs seem more logical, acting as balancing forces. The drumming style of Haws is noticeably organized, nuanced, and thought-out and could be accurately categorized as a blend of the styles of Lamb of God's Chris Adler, Opeth-era Martin Lopez, and Pain of Salvation-era Johan Langell. The mixing job by Sterling Winfield is a stunning step forward for the band as well, and the drum sound is particularly remarkable for its bright, punchy, but balanced character. Lead guitarist Jay Gleason makes several shred-tastic appearances to accentuate the technicality of Vangough's instrumentation, while Justus Johnston and Jose Palacios make appearances on strings to further amplify the feeling of the songs and add a superb creep factor touching on Resident Evil levels at times.No song feels out of place or unessential, with "Infestation," "Schizophrenia," "Vaudeville Nation," "Useless," and "Corporatocracy" as highlights. The dynamic growth between “Kingdom of Ruin” and “Between The Madness” makes this album out to be Vangough's “Blackwater Park,” what many will no doubt cite as the band’s seminal record. Put simply, there has never been a better time to jump off of whatever progressive metal train you've been on and ride with Vangough. "Into the dark I take you," Withrow jabs at us. Make sure your seatbelts are securely fastened." - Metal Underground
    $11.00
  • This band had so many fine moments that it's hard to pick their best but some could make a claim for this one. Running Hard, Mother Russia, Things I Don't Understand and Black Flame are progressive rock classics. Stunning from beginning to end.
    $15.00
  • "German band formed in 2003, Lyriel's musical repertoire ranges from dreamy ballads, a pinch of medieval tunes, to heavy rock songs with elements of classical and Celtic folk music.Distinct, related musical genres merge and become a new, particular style in Lyriel's music.  They distinguish themselves from other bands especially through playing the violin and the cello live on stage, instead of using keyboard-generated strings.The band can play its entire repertoire either as a heavier rock set, or a folky acoustic set, which further highlights the musicians' versatility.Falling somewhere between the pop/folk stylings of the Corrs and the commercial symphonic rock of Within Temptation the opening song 'Numbers' is a pleasent and catchy tune.The next song 'Falling Skies', still retains the commercial pop/rock sound, but this one has a darker and heavier feel.Some full on speed metal with 'Skin And Bones' before moving into some solid rock sounds, a well balanced song between harmony and agression and the use of "real" violin gives this a great lift above the bands who use a keyboard to get this sound.The first version of 'Black And White' has a riff that reminds me of Lacuna Coil's 'Heavens A Lie' and the fact that this one has guest male vocals also adds to that general vibe, however the vocals soon turn to near black metal qualities thus reminding me of Tristania as well.... which is a good thing!Could this next one be a dreaded ballad? Certainly 'Days Had Just Begun' starts that way, and for the most part sounds like an early 'All About Eve' folky ballad, but this one picks up with some simple chord structures and then a great bluesy solo.Have to say that the violin kinda spoils 'Your Eyes' to start with, but the playing gets a little deeper and then the slow moving song speeds up and then starts to rock!Celtic rock meets pop again with 'Dust To Dust', very melodic, very catchy, then its back to the mix of heavy rock and melodic vocals for the next song 'Der Weg' which is performed in their own language.Blimey sounds like Kate Bush, this one really sticks out, just vocals and cello to create a dark and haunting song.'Worth The Fight' is full on guitar riffs backed with some powerful drumming, the vocals simply soar above the music to help create a symphonic rock mini epic.So they do get heavier! Oh yes 'Running In Our Blood' really pumps through the speakers, the vocal pulls the tempo back, then a huge chorus comes in and then, oh yes my dear reader, it fucking goes mental!Ahh it was going so well, then its all nice piano and melodic vocals for a ballad 'Dream Within A Dream', but yes again they pull it back from the brink of boring by allowing the rest of the band to come in and rock it up a bit.We end with the second version of 'Black And White', still sounds like 'Heavens A Lie' to start with, in fact so far sounds the same as the first version, but ahh i get it, they turned down the black metal vocal bit and most of the male vocals have been replaced by female vocals, think i prefer the first version." - Stu's Reviews
    $16.00
  • In October 1987 after many months on the road, it was in the elevated surroundings of the hillside open-air theatre at Lycabettus overlooking Athens that the So tour came to a climactic close. The three nights were filmed in what was the first-ever Peter Gabriel concert to be committed to film. As a concert film, it was brilliantly shot and has now been equally brilliantly remastered, a crystal-clear record of Gabriel and band in their mid-80s pomp. The viewer is placed right in the heart of the action all the way, from the band's synchronized choreography on opening number This Is The Picture, right through to the skin-pricking closer Biko. In between, we're lost in music, spellbound by the spectacle, totally absorbed by the imperfection-free tightness of a band that's been on the road for so long.Bonus Features:DISC 1: Youssou N Dour's opening set with his band Le Super Etoile de Dakar introduced by Peter Gabriel: (1) Immigres (2) Kocc Barma (3) Nelson Mandela (4) Ndobine (5) Sama Dome / My DaughterPaul Gambaccini & Peter Gabriel interview from 1986.Sledgehammer original promo video in HD for the first time.DISC 2: The Play DVD featuring 23 of Peter Gabriel's ground breaking promotional videos with bonus video introductions, a live performance of Games Without Frontiers from 2004, original promo videos from Modern Love (1977) and The Nest That Sailed The Sky (2000), trailers for A Family Portrait, Growing Up Live and Secret World Live.Track Listing:DISC 1 (BLU-RAY) LIVE IN ATHENS: 1) This Is The Picture 2) San Jacinto 3) Shock The Monkey 4) Family Snapshot 5) Intruder 6) Games Without Frontiers 7) No Self Control 8) Mercy Street 9) Family And The Fishing Net 10) Don't Give Up 11) Solsbury Hill 12) Lay Your Hands On Me 13) Sledgehammer 14) Here Comes The Flood 15) In Your Eyes 16) Biko 17) Quiet & AloneDISC 2 (DVD) PLAY: 1) Father, Son 2) Sledgehammer 3) Blood Of Eden 4) Games Without Frontiers 5) I Don't Remember 6) Big Time 7) Lovetown 8) Red Rain 9) In Your Eyes 10) Don't Give Up 11) The Barry Williams Show 12) Washing Of The Water 13) Biko 14) Kiss That Frog 15) Mercy Street 16) Growing Up 17) Shaking The Tree 18) Shock The Monkey 19) Steam 20) The Drop 21) Zaar 22) Solsbury Hill 23) Digging In The Dirt
    $19.00
  • "The string finally ran out for Bad Company with their fourth album, Burnin' Sky. Their approach was so simple that it almost inevitably became formulaic, and although Mick Ralphs continued to screech with his sparse guitar leads and Paul Rodgers continued to present his lust in a soulful voice -- well, one had heard it all before several times by now. A band that begins life declaring "I can't get enough of your love" doesn't really have anywhere to go, and by this, their fourth album, Bad Company were getting sloppy around the edges, tossing in a '50s pastiche in "Everything I Need," crooning "The Happy Wanderer" as if they were on a drunken pub crawl. There were plenty of those patented ominous midtempo rockers, too, of course, but nothing you'd want to add to the set list. Of course, the real reason this was the first of the band's LPs to miss the Top Ten in the U.S. and the U.K. is that last point: only one hit single in the title track. Clearly, it was time to try something new, but after three years of stadium rocking, what Bad Company wanted to try instead was a vacation; they weren't heard from again for two years." - Allmusic
    $6.00
  • Solo album from Pallas vocalist Alan Reed.  I was expecting a singer/songwriter type album.  I was pleased to find that Mr. Reed amped the prog quotient way up.  I'm reminded quite a bit of Pallas, Pendragon and vintage Marillion.  Some interesting Celtic elements are incorporated.  Not sure who keyboardist Mike Stobbie is but he certainly does his damn best to add lots of old school sounds.  Diggin' the organ bits.  Also featured on the album are RPWL guitarist Kalle Wallner, Magental vocalist Christina Booth, and Pendragon drummer Scott Higham.   This album was a shocking surprise - very well done in fact.
    $15.00