Permanent Waves ($5 Special)

SKU: 314534630
Label:
Mercury
Category:
Progressive Rock
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A great album perhaps beaten to death by radio airplay of "Spirit Of The Radio" and "Freewill".  Remastered edition.

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  • In the late '90s, Nemesis quickly rose to the top of the Hungarian progressive metal scene with their two albums "Nemesis" and "Abraxas". Frustrated by an inability to cross over into the Western metal arena the band briefly dissolved. After reforming with a new lineup the band decided to re-record and re-arrange their old material but with a major difference: this time around they would sing in English. The band recorded two albums, "Eden?" and "Psychgeist". "Eden?" demonstrates the band's ability to create dark and moody progressive metal laced with heavy riffing, keyboard driven spaciness and an exotic Eastern vibe. Influences of Dream Theater, Fates Warning and Pink Floyd are present but the combinationis unique and clearly defined as Nemesis' own sound. Sensory will follow up the release of "Eden?" in six months with "Psychogeist".
    $4.00
  • "IRON MASK stand out from many other artists of the neo-classical metal genre because they manage to combine high musical ambitions with a certain kind of accessibility and lots of variety. With 'Fifth Son of Winterdoom', Dushan Petrossi and his band manage the musical claim to be very catchy, so fans of Firewind, Dio, Iron Maiden, Yngwie Malmsteen and Rainbow will all have their joy in this extraordinary album."
    $15.00
  • "I was first exposed to Cardiacs’ oddly compelling world when the video to ‘Tarred And Feathered’ aired on The Tube on April 17 1987. Six musicians wearing old-fashioned vaguely military-style uniforms, covered in badly applied make-up and cranking out the most eccentric music I had ever heard broadcast on TV, against a backdrop that looked as though it had been stolen from a 70s children’s show. I had no idea what to make of it but it certainly made an impression. A friend of mine said he liked it, until he realised that the seemingly chaotic nature of the tune was in fact scripted mayhem, written down as notes and not improvised at all. This had the opposite effect on me. I wondered how someone could write such music and what on earth their influences could be.When I briefly moved to Cambridge aged 18, my best friend there was a Cardiacs obsessive who used to terrorise his poor live-in-landlord by constantly screening their Seaside Treats video at full-throttle volume. There was something about those films - the childish petulance of the musician’s behaviour, the industrial surrealism of Eraserhead transposed instead to the garish English seaside - that I found irritating. But after a few listens, splinters of melodies had embedded themselves in my brain (abetted no doubt by the eruption of electronic mayhem that follows the command "take it Sarah" on ‘To Go Off And Things’) and resistance was no longer an option. I went out into the city centre and bought my first Cardiacs album, A Little Man And A House And The Whole World Window. Although subsequent releases by the band would mean I was forever revising which was my favourite, it was to mark the beginning of a lifelong love of their music.Perhaps their best known recording, ALM&AH&TWWW was Cardiacs’ fourth album and the first to be recorded in a proper studio - The Workhouse in the Old Kent Road in London, which was gutted by a fire soon after. Three cassette only albums, The Obvious Identity, Toy World and The Seaside, had preceded it, along with the Big Ship mini-LP. The classic line up of brothers Tim and Jim Smith on lead vocals/guitar and bass/vocals respectively, Sarah Smith on saxophones and clarinet, William D. Drake on keyboards and vocals, Tim Quay on marimba and percussion, and Dominic Luckman on drums, was expanded to include strings and a brass section. Ashley Slater added tenor and bass trombone, Phil Cesar brought trumpet and flugelhorn, while Elaine Herman completed the picture on violin. The band’s main creative force Tim Smith produced the album, which contained the nearest thing they ever had to a hit single, ‘Is This The Life?’ Tim once told me that demand for the single far outstripped stock from the initial pressing and although he tried to get more pressed up as quickly as possible, the plant where they were being made was also pressing copies of Kylie Minogue’s ‘I Should Be So Lucky,’ and was already at maximum capacity cranking out copies of her massive breakthrough hit. A quick look at the timeframe suggests the story could have been true, but as this was exactly the kind of self-penned apocryphal tale that Tim could never resist indulging in, I’m still unsure as to whether I believe it or not." - The Quietus
    $18.00
  • "Lunar Explosion is a young upstart band from Italy, but not without some significant experience in the three short years of existence. Despite their youth, on the strength of a four song demo recording, the band has been selected to open for several important acts including Michael Angelo Batio, Blaze Bayley, Elvenking, and Domine.Lunar Explosion chosen metal style is basic, and classic, European melodic power metal, with a strong emphasis on twin lead guitars. Actually, if they wanted to give a title to their debut album, they could have called it 'Guitar Explosion'. Most every song from the start has a dashing guitar line flowing in the tune. And that's not counting the several solos in every song, which are mostly neo-classical in style.While not diminishing the entirety of the album, the guitar work is probably Lunar Explosion's single greatest strength. The power metal is rather typical of the genre, the lead vocals and vocal arrangements average, and the production a bit spotty on some songs, with some songs sounding like certain parts were dropped in later as an afterthought. While the guitar leads are flying everywhere, some of the best are found within Lunar Explosion, From Beyond, and The King of Judea, which are also some the best songs here. The metal ballad/anthem When The Sun No Longer Shines, not so much; it basically shows the limitations of Raffaele Smaldone's voice and the weakness of the vocal arrangements. But it does have another cool guitar solo. If you like your power metal with lots of big guitar leads, then you'll want to get this album." - Dangerdog.com
    $14.00
  • Second album from this French zeuhl influenced ensemble.  It demonstrates a variety of influences from zeuhl, Canterbury, and RIO - all blended together with jazz rock.  The music can become hypnotic at times - quite intense actually.
    $18.00
  • The Italian band The Watch are probably the pre-eminent prog band to capture the classic Gabriel-era sound of Genesis.  While the band tours doing covers of Genesis tunes hey write original material that could easily have been lifted from Nursery Cryme.  Tracks From The Alps is their latest.  It includes all original compositions except their reinterpretation of "Going Out To Get You", a track from Genesis' debut album.  If you like "the sound" The Watch will be indispensible.  I consider them a guilty pleasure and have enjoyed all of their releases.  Highly recommended.
    $17.00
  • "This album's a musical and emotional rollercoaster, but most of our albums are,' Mike Portnoy says of Black Clouds & Silver Linings, Dream Theater's tenth studio album and second Roadrunner release. Black Clouds & Silver Linings marks another milestone on Dream Theater's iconoclastic musical journey,which began two and a half decades ago and now encompasses a hugely impressive body of music that's established the durable progressive metal outfit as a one-of-a-kind creative force with a fiercely devoted international fan base. The new album - produced by band members Mike Portnoy and John Petrucci, who also serve as the group's main lyricists - offers a vibrant manifestation of the world-class musicianship, vivid lyrical scenarios and ambitious, multi-leveledcompositions that have established Dream Theater as a uniquely compelling creative force."
    $9.00
  • The band's first album from 1974. At this point in time the music was this miasa of progressive rock and blues jams held together with pure emotion and raw energy. This one definitely needed to be cleaned up on CD since the original vinyl pressing was terrible.
    $14.00
  • Stunning remastered edition of the classic Beck album from 1969 featuring Rod Stewart, Ron Wood, Nicky Hopkins and Tony Newman. This version features four unreleased bonus tracks as well as an extensive interview with Jeff Beck. This is an EMI release and has their dopey Copy Control protection which is more of a nuisance than an actual deterrent.
    $11.00
  • Official (?) release of a live performance that has been circulating among tape traders for decades.  This was a live in the studio performance recorded for the BBC in 1973 in front of an invited audience.  Its a classic gig that features Wishbone Ash's Andy Powell on Ashes Are Burning along with Al Stewart.
    $14.00
  • Tenth album from this prolific German band fronted by English vocalist Philip Griffiths who also is a member of Alias Eye.  PGM's brand of prog is squarely in the melodic vein with elements of neo and symphonic rock.  Flute is a nice addition to the mix and often evokes the feel of early Genesis.  The band is joined by Phil's father - the great Martin Griffiths who you should all know from Beggar's Opera (Time Machine!!!!).  He actually sings on 5 tunes and still has a great voice.
    $14.00
  • Metal Mind has repackaged the jewel box editions of Changes and Moonshine together in a slipcase and made it available at an attractive price.
    $16.00
  • "It only seems like a couple of weeks since Caravan announced in August 2013 that they were to record a new album that would be financed by money pledged by fans, and yet here it is already!What should have been a joyous time for the band and fans alike was sadly marred by the death of long-time drummer Richard Coughlan on December , however it is fitting that the digital download of the album was released to fans who had pledged on December 20, the day of Richard’s funeral!Musically this has classic Caravan stamped all over it. It is not, however, a hark back to the halcyon days of the 70′s and In the Land of Grey and Pink or For Girls Who Grow Plump in the Night, there are not anywhere near as many long instrumental sections in there for a start and the longest song I’ll Be There For You clocks in at a mere 6:14. What we do have here is a stripped down, and updated 2013 version of everything that Caravan fans look for. The classic songwriting is there, as is the excellent musicianship and whimsical lyrics, and let’s face it, with that instantly recognisable, trademark voice, Pye Hastings could re-record Never Mind The Bollocks and it would probably still sound like Caravan.All This Could Be Yours is a belter of an opener, and despite what I said above, this is one track that would not have been out of place on Grey and Pink or Girls Who Grow Plump! With an excellent, albeit short, viola solo from Geoffrey Richardson, and a great hook in the chorus, it skips along merrily in classic Caravan style.One of the ways of financing the album was to get people to pledge extra to go to the studio and get involved in the recording, I don’t want to pour cold water on anything but sadly I think this is where the band have shot themselves ever so slightly in the foot. Despite being a great song, I’m On My Way, has some awful, flat backing vocals in the chorus which almost ruin the song. The same applies to This Is What We Are where a slightly naff chorus comes close to ruining what is otherwise a very strong song, being slightly heavier than we are used to from Caravan including an infectious piano motif and an excellent, soaring guitar solo towards the end.The slower Dead Man Walking is the perfect pacer, leading into the very emotive Farewell My Old Friend. As an ode to the passing of a close friend, this song is made all the more poignant following the death of Richard Coughlan and brings a lump to the throat!In typical Caravan style, no-one is allowed to get too maudlin, as the next two songs Pain in the Arse with the vitriolic closing line ‘I don’t care if you sue me now, you are insane’, and Trust Me I Am A Doctor put the collective tongues firmly back in the cheek. Doctor takes an irreverent stab at a GP, who I’m quite sure, given the amount of names dropped in the song is a real person and should have no difficulty in identifying himself! But it is all done in good fun and I’m sure no umbrage will be taken!The album finishes on a mellow note with the wistful I’ll Be There For You and the title song Paradise Filter which kicks off  really slow and  melancholy with a late night jazz feel, before breaking out into a middle section that is very reminiscent of the instrumental break in The Dog, The Dog, He’s At It Again!Overall this is an excellent return for a band that has been absent from the recording studio for too long (it is ten years since the release of The Unauthorised Breakfast Item in 2003). Not that they have been resting on their laurels as they have still been playing live gigs, but it is nice to know that they can still cut it and write well crafted, catchy and extremely listenable songs.It also proves that the pledging route is a very viable way of financing studio time and album releases, sadly, however, I doubt very much that would work for new bands as you would have to have a name for yourself in order to create the initial interest. Maybe extensive gigging and as the old saying goes ‘paying your dues’ would help. Now there’s an idea (take note potential XFactor and The Voice contestants)!" - jonb52
    $20.00
  • ONE OF A KIND TITLE FROM THE LASER'S EDGE ARCHIVE"Focus here featured virtuoso guitarist Jan Akkerman for the last time, not to work with his long-term writing partner Thijs Van Leer for another ten years. Mother Focus also sees Focus' highly skilled bass player Bert Ruiter try his hand in songwriting. The outcome includes the one of the finest funk tracks on the album -- the hilarious "I Need a Bathroom." The album begins with quite possibly the finest track on the album -- and maybe the most typical Focus -- the titular "Mother Focus." The funky theme underlying the number sets the mood for the rest of the LP with aplomb. Indeed, Mother Focus is far from the usual instrumental material. For this reason, Mother Focus may not appeal to the usual fans of the Dutch proggers. The number of feel-good tunes making up the album's core makes up for the lack of a rocking single in the style of "Hocus Pocus." A mellower, happier aura permeates the recording as a whole, particularly noticeable in the soothing "Tropic Bird." Undoubtedly, though, Mother Focus is let down by the lack of Akkerman's and Thijs' presence. The whole album cries out for one of them to jump out and take center stage for a while. Instead each track is filled with numerous melodies and rhythms, with only the occasional jaunt from Akkerman. Mother Focus is a fine album in its own right, but maybe not what one would be expecting when taking into account the progressive rock features of their earlier albums. Funk predominates in the last respectable Focus LP. RIP Focus." - ALLMUSICNOTE: Dutch Red Bullet pressing - long out of print
    $17.00