Profoundemonium

SKU: NPR084
Label:
Napalm Records
Category:
Metal/Hard Rock
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Beauty and beast metal featuring Helena Michaelsen on vocals.

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  • Now here is a beautiful slice of contemporary progressive rock.  Anubis is an underrated band from Australia - bands down under don't seem to get the attention they deserve.  Hitchhiking is their third full length album.  2011's A Tower Of Silence was a big hit around here and frankly when it arrived it came as a huge surprise.  This long awaited follow up reinforces that the prog rock world needs to take notice.  The music has a cinematic Floyd-like feel.  Vocals from Robert James Moulding are emotion driven and have plenty of impact.  This is not a band who's music is filled with tons of soloing but what's here is solid.  In other words this is not old school prog - its very forward thinking but with a modern sound.  Highly recommended."I have long dreamt of an Australian progressive rock album that would inspire me to click the repeat button, in order to drift through its world all over again, and I am happy to declare that Hitchhiking to Byzantium has been on constant rotation for weeks at this point. Bringing an enchanting blend of Floydian melancholy and the energy of Rush to the table, Anubis have come to stake their claim as heavyweights in the Oz scene with their third opus.Whilst being equally impressed with their 2011 album A Tower of Silence (which I have only just heard recently also), I have found myself returning to Byzantium more to explore the subtle nuances contained within the album’s ten tracks. ‘Fadeout’ as an opening diddy is like riding a gentle breeze for just a short while before being swept up in all the drama and opulence of ‘A King with No Crown’, a reference quality track on every level, cinematic in scope and full of drama and tension and certainly an inspired choice as opening single for the album. ‘Dead Trees’ is a classic prog cut with all the bells and whistles sporting a vocal performance that harkens to a young James Labrie and a chorus that will have you by the balls from the first time you hear it.I mentioned a notable influence from Floyd and Rush earlier, but if I was to be honest, I would love to ask them if they are fans of American prog band Tiles and those wonderful Brits Anathema, because both bands are called to mind on this album amongst others like Sweden’s Anekdoten. The title track is a sublime centrepiece and features a plaintive aura that is sent soaring when spine-tingling female backing vocals lace the chorus. It’s so hard to choose a favourite song when they are all so filled with creamy goodness, but any of these three  - ‘Blood is Thicker than Common Sense’ (a seductive groover), ‘Tightening of the Screws’ (a majestic slice of melancholia reminiscent of early The Pineapple Thief) or ‘Partitionists’ (a lyrical and musical marvel) - could easily take the title for this humble listener.The final triptych features dark drama in ‘Crimson Stained Romance’, a song that reminded me most of a classic Floyd epic, the 15+ minute ‘A Room with a View’, which is nothing short of a sweeping symphony of moods and tones and the closing ‘Silent Wandering Ghosts’ sounds exactly like its title would suggest, haunting and transcendent with an outro to die for.These seven talented lads are a gifted lot, with every performance of outstanding quality, enhanced by a jaw-dropping production that let’s every instrument tell its own little story and play its part in this emotionally resonant work that as the band state themselves: "I feel that there's more of us in there - the hurdles that life throws at us and the only way to feel true inner peace - by examining the love around you. It's certainly an introspective record - but it's real life. It's about you, it's about me, it's about all of us. Hitchhiking to Byzantium. That journey is life."And somehow I believe them." - Loud Mag
    $15.00
  • "Osada Vida, one of the most interesting Polish bands on the prog-metal scene, return with a brand new album. “Particles” is their first release after the line-up change in 2012, when Marek Majewski (ex-Acute Mind) joined the band as their new vocalist. New album includes 9 new tracks plus a brilliant cover of Metallica's track "Master of Puppets". One of the tracks include a guest vocal appearance by Sivy known from the Polish metal band Tuff Enuff.New album was just reviewed by the ProgArchives’ journalist:“The album sees a natural evolution in the band's approach, rather than wholesale changes. The cover art offers an immediate indication of this, being lighter and simpler than previous albums. The concept album approach is set aside in favour of presenting nine strong, individual pieces each intended to stand alone as a complete piece.The opening track, 'Hard-Boiled Wonderland' will be familiar to those who investigated the band's first DVD last year, as it was the only unreleased song included in that gig. The track blends influences such as Yes and King Crimson in an off-beat but rhythmic heavy guitar driven piece. While the pounding riffs are deliciously heavy, the feel is lighter than previous albums. 'Stronger' is the first of the tracks to fully reveal the band's stated ambition for this album of presenting something more accessible while retaining the musical integrity that has served them so well to date. The highlight of the song is some fine guitar and keyboards interplay between RafaƂ Paluszek and Bartek Bereska.(…)Overall, an album that represents quite a shift for Osada Vida. While excellent musicianship and fine production may be taken as read, the generally more accessible nature of the songs should appeal to a wider fan base while continuing to satisfy those who have followed the band thus far.”Osada Vida is one of the most interesting Polish bands on the prog-rock scene. Their discography includes three demos and three well received official releases - “Three Seats Behind a Triangle” (2006/2007), “The Body Parts Party” (2008), “Uninvited Dreams” (2009). Their albums feature elaborately beautiful music in the vein of Yes, Porcupine Tree, Pain Of Salvation and Riverside. In early July, Osada Vida released their first live DVD entitled “Where The Devils Live” featuring the recording of their live appearance at the Wyspianski Theater in Katowice, Poland in Autumn 2011. The band recently debuted in a new improved line-up - they have added a new vocalist Marek Majewski, previously known from the band Acute Mind. Osada Vida is also recognized worldwide - they played at the famous US' ROSfest 2011 and at the beginning of October 2012 they were a part of Israeli ProgStage festival where they performed next to Andromeda, The Flower Kings or Orphaned Land." 
    $14.00
  • "And straight out of left field…One thing you really don’t expect to hear these days is proper gothic/symphonic metal in the classic late 90’s-mid 00’s tradition.While a few bands have recently begun making overtures towards a return to form if not revitalization of a genre that’s been effectively moribund since 2008, many of them are veterans going back to the sound that made them famous in the first place.  Leaves Eyes come immediately to mind, as does a recent surprising move to the operatic frontlines from longstanding (if previously somewhat boring) second stringers Xandria, who proved that sometimes losing a few founding members can be the best thing that ever happened to a band*.*for another glaring example of this principle, see also Theatres des Vampires, who only became a truly notable venture under the ostensible leadership of the lovely Sonya Scarlet…But what happens when we’re not talking classic acts undergoing some measure of renewal?  Moreover, when we’re not only talking a brand spanking new outfit, but one that (get this) doesn’t even hail from European climes.  Say what the hell?But here you go, a self-released gem right out of that busy musical hotspot of Minnesota (of all places…and we’re not even talking a Prince related project here!).  While not as bombastic as, say, Phantom Agony/Consign to Oblivion era Epica, Leaves Eyes or Mother Earth/Silent Force era Within Temptation, keyboardist/guitarist Damien Villarreal and vocalist Chelsea Knaack have come together to make what may be the first actual gothic/symphonic metal offering to come out of the United States.Sure, we’ve had a gothic/death metal crossover act (Echoes of Eternity, though they’re at least part Canadian) and a few lower rung gothic cum pop radio acts (remember that lone album where anyone cared about Evanescence?  Good move breaking up with Ben Moody, there, Amy…), but actual symphonic metal with operatic vocals?  This is total bizarro world stuff over here, in a nation still (sadly) dominated by aggro acts, hip hop and tuneless, emotionless math metal and prog wannabes.So once you manage to get over the shock factor engendered by their domestic origin, how does the music rate?  Well, for one thing, Knaack taps into similar vocal range and dynamics to earlier Simone Simons, albeit with a bit more stiffness that calls Carmen Schaeffer of Coronatus to mind (though I’m betting she was aiming more for earlier Floor Janssen if not Tarja Turunen stylistically).The guitars are somewhere in the middle, managing to keep Villarreal’s fingers a whole hell of a lot busier than the standard chunka-chunka single note stutter rhythms that tend to be a genre standby.  This is a good thing, as is his ability to hold down a reasonably melodic solo or harmony lead fill on occasion; these certainly enhance the sound to an unusual degree and keep the listener more on their toes than fans of the genre are accustomed to.But is he a virtuoso guitar hero on any level?  Not in the least.  Consider him a rather competent, melodically oriented craftsman with light prog leanings (you can pick out the Fates Warning by way of Dream Theater aspirations in a few of the rhythmic choices and modulations, not to mention the mostly inobtrusive but omnipresent keyboards which he also provides).Rounding out the trio is drummer Jordan Ames, who offers equally competent drumming, which appropriately for the style is never very flashy or notable, but filled with enough stuttering polyrhythms, cymbal work and a dash of double bass-inflected kit runs to show the guy to be quietly accomplished (much like what I’m trying to get across about Villarreal).  Coming from the Shrapnel school back in the day, I prefer a lot more flash in my players, but there’s nobody here who’s less than superlative in their musical competencies.The one major failing, and one I find with far too many acts these days, irrespective of genre, age or nation of origin is a noticeable lack of soul.  Like comparing Jimmy Page to Carlos Santana or the guys in Queensryche to Randy Rhoads, while in the right general ballpark, there’s something central and essential that just isn’t there.While more effusive and warm than several likeminded European acts (as befits a trio of blustery, heart on the sleeve wearing Americans), there’s a certain unexpected coldness to the sound and lack of bombast that baffles somewhat.  More of a note of constructive criticism, much akin to chiding a favored student for the mistakes that kept him from getting an A+ instead of a B, but worth noting nonetheless.All told, if you’re a fan of gothic symphonic metal in the days before that scene became overcrowded with no-talents and pop radio leanings and have some measure of respect for progressive leanings in your metal (think Ray Alder-era Fates Warning far more than Jason McMaster-era Watchtower and you’ll get a clearer picture), you really don’t want to miss out on this one.The first US overture into the gothic symphonic revival delivers a very credible and respectable showing, and gets themselves some high marks in the bargain.  Good stuff." - Third Eye Cinema
    $12.00
  • "Esoteric Recordings are pleased to announce the next release in the continuing series of reissues of the entire catalogue by the legendary classical rock band SKY. Formed in 1979, Sky brought together the worlds of rock and classical music in a highly successful and inspiring way. Featuring the gifted talents of guitarist JOHN WILLIAMS, percussionist TRISTAN FRY, legendary bass player HERBIE FLOWERS, former Curved Air keyboard player FRANCIS MONKMAN and guitarist KEVIN PEEK, Sky recorded their debut album at Abbey Road studios in the early months of 1979. The band’s self-titled debut reached the UK top ten in May 1979 and went on to achieve Platinum status in the UK and was also a major hit in Europe and Australia. Also a huge live attraction, SKY released their second album in April 1980. "SKY 2” was a fine achievement, featuring the hit single "Toccata”, and topped the UK album charts upon its release. For this, the band’s third album, STEVE GRAY replaced Francis Monkman on keyboards, but the band continued their run of success as SKY 3 reached the UK top ten upon its release in March 1981.The album’s success followed a highly memorable concert by the band at Westminster Abbey in London on February 24th 1981, which was recorded and broadcast by BBC Television and later released on home video cassette.This Esoteric Recordings edition has been newly re-mastered and includes a companion DVD (NTSC / Region Free) of SKY AT WESTMINSTER ABBEY,  (the first ever DVD release of this classic concert). The original album artwork is fully restored and the booklet features a new essay."
    $19.00
  • Wolf People are an incredible ensemble from the UK.  They channel the late 60's/early 70's British sound.  Definitely psychedelic buzz from these guys.  Folk elements crop up that will remind you a little bit of Fairport Convention but the electric side dominates and it constantly reminds me of bands like The Groundhogs and High Tide - think TS McPhee and Tony Hill blazing away.  This is guitar oriented music that is completely immersed in THAT SOUND.  Killing solos through out.  Man I love this band!!!  Highly recommended.
    $14.00
  • Third album from this New Jersey symphonic rock band.  All of the band's albums are conceptual pieces based around literary works.  In fact the band's name is derived from a Ray Bradbury story.  On A Dark And Stormy Night is based on Madeleine L'Engle's fantasy novel of the same name.  The album is a wet dream for any fan of symphonic prog.  As I make my way through the album I'm frequently reminded of some similarities to Glass Hammer.  This is very keyboard driven music with a healthy amount of guitar leads.  There are even some nice Mellotron sounds popping up now and then.  These guys dream big and hit the mark.  Highly recommended.
    $11.00
  • Expanded edition with bonus tracks."Widely considered the pinnacle of speed metal, Reign in Blood is Slayer's undisputed masterpiece, a brief (under half an hour) but relentless onslaught that instantly obliterates anything in its path and clears out just as quickly. Producer Rick Rubin gives the band a clear, punchy sound for the first time in its career, and they largely discard the extended pieces of Hell Awaits in favor of lean assaults somewhat reminiscent of hardcore punk (though distinctly metallic and much more technically demanding). Reign in Blood opens and closes with slightly longer tracks (the classics "Angel of Death" and "Raining Blood") whose slower riffs offer most of the album's few hints of melody. Sandwiched in between are eight short (all under three minutes), lightning-fast bursts of aggression that change tempo or feel without warning, producing a disjointed, barely controlled effect. The album is actually more precise than it sounds, and not without a sense of groove, but even in the brief slowdowns, the intensity never lets up. There may not be much variation, but it's a unified vision, and a horrific one at that. The riffs are built on atonal chromaticism that sounds as sickening as the graphic violence depicted in many of the lyrics, and Kerry King and Jeff Hanneman's demented soloing often mimics the screams of the songs' victims. It's monstrously, terrifyingly evocative, in a way that transcends Reign in Blood's metal origins. The album almost single-handedly inspired the entire death metal genre (at least on the American side of the Atlantic), and unlike many of its imitators, it never crosses the line into self-parodic overkill. Reign in Blood was a stone-cold classic upon its release, and it hasn't lost an ounce of its power today." - Allmusic Guide
    $9.00
  • Kindly Bent To Free Us is the long awaited third album from Cynic.  It finds the core trio of Paul Masvidal, Sean Reinert, and Sean Malone intact.  Just as Traced In Air was an evolution from Focus, so is Kindly Bent To Free Us a natural sounding progression from Traced In Air.  There is a common underlying sound which is clearly Cynic.  The music still maintains metallic and jazz roots but it serves as a foundation for a sound that owes more to prog rock.  If you are expecting Focus you will be disappointed.  This probably owes more to Porcupine Tree and Riverside as its not quite as technical as in the past, relying more on atmosphere.  But don't get me wrong, there is some unbelievable playing going on.  Once again Sean Malone demonstrates that he is the most underrated bassist in the world.  Highly recommended.
    $11.00
  • "RCA Records released Live at the Fillmore East in April 1998, nearly 30 years after it was recorded. At the time, Jefferson Airplane was coming down from the peak of Takes Off, Surrealistic Pillow and After Bathing at Baxter's, and they were performing material form their forthcoming record, Crown of Creation. In other words, they were at a peak, and the record has a raw, exciting energy that illustrates why the group were considered one of the greatest bands of their era." - Allmusic Guide
    $5.00
  • Ambient/prog reworking of Dead End Kings arrives in a limited edition 2 disc digibook.  You get the CD version as well as a DVD featuring a 5.1 and 24 bit hi-resolution stereo mix."After last year’s successful release of their 9th full-length Dead End Kings, Katatonia have returned with a special release entitled Dethroned and Uncrowned. This album is special for two reasons. Firstly, it was brought to life with the help of the so-called ‘Katatoniacs’; that is, the fans were the ones who financed this project through a pledge campaign the band had set up where fans could pledge for various album formats and other items such as drumsticks, lyric sheets, posters, backdrops and even one of Anders’s old guitars. Needless to say, the pledge campaign was highly successful and reached its goal in four days. Secondly, the album is special music-wise, as it contains the same tracks that were found on Dead End Kings, but all of them have undergone a major makeover. As Katatonia wrote on their website: ‘the drums will be dethroned and the distorted rhythm guitars will be uncrowned’. What they have basically done is that they have kept the vocal lines intact but have experimented with the rest of the music, creating stripped-down, semi-acoustic versions of the songs with the focus on ambience and atmosphere, showcasing the band’s progressive song-writing talent. Katatonia have masterfully and rather elegantly transformed the songs into totally different entities and have given themselves as well as the listeners the opportunity to discover different aspects of each track, by adding little interesting details or emphasizing some parts that were not as noticeable as in the previous version, like the Jan Johansson-esque piano touches in ‘Leech’, or the 70s prog vibe in ‘Dead Letters’. All in all, Katatonia have managed yet again to create a beautiful, melancholic and touching piece of work that will certainly fulfill the expectations of the majority of their fans. Those who were not very keen on Dead End Kings (if such people exist), might enjoy some of the songs in their new versions, and, who knows, they might even appreciate that album a bit more after listening to this." - Metal Recusants
    $9.00
  • Svart Records can be thought of as the Rise Above Records of Finland.  Both labels covers similar territory.  Somehow Svart signed the British band Messenger right from under the nose of Rise Above.  Messenger are a superb retro-band that push all the right buttons for a fans of 70s prog and folk.  This isn't a bombastic throw back album like Astra or Diagonal.  Instead Messenger's music is cut more from the cloth that Midlake are exploring.  In other words what you get is a kind of mystical, pastoral folk with strong prog overtones.  Flutes and 'tron fuse with echoey acoustic guitars in a way that transport you to some ancient forest.  At various points through out the album I'm reminded of Pink Floyd, Trespass-era Genesis, early King Crimson and Traffic.  The band started out as a trio with guests and has now expanded into a full fledge touring ensemble.  I expect we will hear quite a bit from this band in the immediate future.  Highly recommended. 
    $8.00
  • "The Polish princes of post-rock present their positive and powerfully paced Eternal Movement. Do you like your post-rock? Then you're likely already familiar with Tides From Nebula who have released several solid post-rock album already. Tides new release Eternal Movement further solidifies the quartet's importance to this genre. The songs follow the well traveled loud-soft-loud formula with some subtle variations. Tides' music is entirely instrumental, there are no samples or vocals. You get four guys pounding away creating dramatic, sweeping music that drifts up and down in tone and pace. The musicianship is consistently good from all areas throughout the album with the perpetually changing material. The range of sounds in Tides' songs is quite dramatic. One moment you are hearing soft atmospheric keys, the next is harsh driving drums with distortion filled tremolo guitar.I always wondered what the 'Laughter of Gods' would sound like. Now I know, as it is the lead song on the album. The song kicks off bright and full of melody with an intriguing pairing of tremolo and rhythm guitar. Tides guitarists Adam Waleszynski and Maciej Karbowski are prominent throughout Eternal Movement as they weave all over the sound spectrum. 'Laughter of Gods' slows down for a breather mid-track with some soft synth that reminds me of rain drops. The keys disappear as striking guitar cuts back in and it's unrelenting until the track ends. Next the rocking 'Only with Presence' unfolds with a catchy driving melody and thrilling time changes. You will certainly gain "sudden enlightenment" from "Satori"'s uplifting vibe and gentle flowing melodies. The song ramps up for a mighty coda with a series of striking, and memorable bam! bam! bams! I'd imagine this would be an awesome song to hear live!'Emptiness of Yours and Mine' begins in a light dreamlike state. You'll awaken gradually as snappy guitar and wispy, soft ethereal atmospherics slowly drift into the track. The pattern of ending with amplified guns blazing continues as 'Emptiness' concludes with some gripping guitar shreds. As the guitars are busy soaring all over, the songs are kept grounded with Stolowski's emphatic drums and Weglowski's dynamic basslines. The uplifting energetic and catchy tracks continue with two of my favourites off the album, 'Now Run' and 'Let it Out Let it Flow Let it Fly'. It is hard to overlook Stolowski's killer drum flurries on 'Now Run' or his flying and flowing beat on 'Let it Out Let it Flow Let it Fly'. Great stuff. The album ends with the massive track, 'Up from Eden' which clocks in at close to 10 minutes. Predictably the track starts off mellow and jogs up and down the pace meter ending with some deep gritty chords.There is plenty to like on Eternal Movement. With nearly 50 minutes of impressive post-rock that repeatedly drags you back and forth across the musical nebula your brain will take a nasty aural clobbering. This is one beating you'll enjoy however. Eternal Movement is an easy recommendation for all fans of post-rock, guitar rock and instrumental rock. Tides From Nebula have crafted an album full of clever, engaging and deeply melodic songs that are executed with passion and finesse. Definitely give it a spin." - Echoes And Dust 
    $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
  • Released in the UK in December 1968, "Shine on Brightly” followed on from the huge international success in 1967 of the band’s debut single "A Whiter Shade of Pale” and the follow up single "Homburg” and built on the creative path begun on Procol Harum’s self-titled debut album issued in January 1968. Gary Brooker (voice, piano), Robin Trower (lead guitar), David Knights (bass guitar), B.J. Wilson (drums) and Matthew Fisher (Hammond organ) took the music of the band to new heights with this, their second album. Dominated by the 17-minute epic suite "In Held ‘Twas in I”, Procol Harum re-wrote the rule book of popular music with the material written and recorded for "Shine On Brightly”.Newly re-mastered from the original tapes, this 3 CD clamshell box Deluxe edition of "Shine on Brightly” has been expanded to include the 1968 Mono mix of the album (released on CD for the first time) and 20 bonus tracks (9 previously unreleased) drawn from studio sessions, single mixes and three BBC radio sessions recorded in 1968, featuring 9 previously unreleased recordings.This expanded deluxe edition also includes a lavishly illustrated booklet that fully restores the original album artwork and features a new essay by Procol Harum biographer Henry Scott-Irvine and also includes a poster.Disc One"SHINE ON BRIGHTLY”THE STEREO MIX REMASTERED1. QUITE RIGHTLY SO2. SHINE ON BRIGHTLY3. SKIP SOFTLY (MY MOONBEAMS)4. WISH ME WELL5. RAMBLING ON6. MAGDALENE (MY REGAL ZONOPHONE)7. IN HELD TWAS IN I    a. GLIMSPES OF NIRVANA8. IN HELD TWAS IN I    b. TWAS TEA TIME AT THE CIRCUS9. IN HELD TWAS IN I    c. IN THE AUTUMN OF MY MADNESS10. IN HELD TWAS IN I     d. LOOK TO YOUR SOUL11. IN HELD TWAS IN I     e. GRAND FINALEBONUS TRACKS12. IL TUO DIAMANTE ("SHINE ON BRIGHTLY” ITALIAN VERSION) (MONO)RECORDED IN SEPTEMBER 196713. QUITE RIGHTLY SO14. IN THE WEE SMALL HOURS OF SIXPENCEA & B SIDES OF SINGLEDisc Two"SHINE ON BRIGHTLY”THE MONO MIX REMASTERED(PREVIOUSLY UNRELEASED ON CD)1. QUITE RIGHTLY SO2. SHINE ON BRIGHTLY3. SKIP SOFTLY (MY MOONBEAMS)4. WISH ME WELL5. RAMBLING ON6. MAGDALENE (MY REGAL ZONOPHONE)7. IN HELD TWAS IN I    a. GLIMSPES OF NIRVANA8. IN HELD TWAS IN I    b. TWAS TEA TIME AT THE CIRCUS9. IN HELD TWAS IN I    c. IN THE AUTUMN OF MY MADNESS10. IN HELD TWAS IN I     d. LOOK TO YOUR SOUL11. IN HELD TWAS IN I     e. GRAND FINALEDisc Three1. MONSIEUR ARMAND (MONO)2. SEEM TO HAVE THE BLUES (MOST ALL THE TIME) (MONO)3. MAGDELEINE (MY REGAL ZONOPHONE) (1967 MONO VERSION)4. SHINE ON BRIGHTLY (1967 MONO VERSION)5. IN THE WEE SMALL HOURS OF SIXPENCE (STEREO MIX)6. MONSIEUR ARMAND (STEREO BACKING TRACK)7. A ROBE OF SILK (STEREO BACKING TRACK)8. MCGREGOR9. THE GOSPEL ACCORDING TO… (WISH ME WELL)10. SKIP SOFTLY (MY MOONBEAMS)11. QUITE RIGHTLY SO12. RAMBLIN’ ON13. SHINE ON BRIGHTLYBBC RADIO ONE SESSION14th FEBRUARY 1968PREVIOUSLY UNRELEASED14. SKIP SOFTLY MY MOONBEAMS15. WISH ME WELL16. LONG GONE GEEK"TOP GEAR” BBC RADIO ONE SESSION 19th AUGUST 1968PREVIOUSLY UNRELEASED17. IN HELD ‘TWAS IN I (LOOK TO YOUR SOUL /FINALE)"TOP GEAR” BBC RADIO ONE SESSION 6th OCTOBER 1968PREVIOUSLY UNRELEASED 
    $33.00