The Sky Is Crying ($5 Blowout Price!)

"The posthumously assembled ten-track outtakes collection The Sky Is Crying actually proves to be one of Stevie Ray Vaughan's most consistent albums, rivaling In Step as the best outside of the Greatest Hits collection. These songs were recorded in sessions spanning from 1984's Couldn't Stand the Weather to 1989's In Step and were left off of the LPs for whatever reason (or, in the case of Soul to Soul's "Empty Arms," a different version was used). What makes the record work is its eclectic diversity -- Vaughan plays slide guitar on "Boot Hill" and acoustic on "Life by the Drop"; he smokes on the slow blues of "May I Have a Talk With You" and the title track just as much as on the up-tempo Lonnie Mack cover, "Wham"; and he shows the jazzy side of his playing on Hendrix's "Little Wing" and Kenny Burrell's "Chitlins Con Carne." But it's not just musical diversity that makes the record work, it's also Vaughan's emotional range. From the morbidly dark "Boot Hill" to the lilting "Little Wing" to the exuberant tributes to his influences -- Lonnie Mack on "Wham" and Albert King on "The Sky Is Crying" -- Vaughan makes the material resonate, and in light of his death, "The Sky Is Crying" and the touching survivor-story ballad "Life by the Drop" are two of the most moving moments in Vaughan's oeuvre." - Allmusic

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  • Import digipak edition!"2014 live album the King Crimson spin-off. Featuring the talents of Adrian Belew, Tony Levin, Pat Mastelotto, Markus Reuter, Julie Slick and Tobias Ralph; The Crimson ProjeKCT primarily focus on repertoire from the early 1980s through to the mid-90s. The band has a ''double trio'' line-up, as made popular by Crimson between 1994-1997. LIVE IN TOKYO finds the band performing a solid 12-song set." 
    $15.00
  • No subtleties here. This is pure bible thumpin' prog done up as only Mr. Morse can. The core trio remains Neal Morse, Mike Portnoy and Randy George although there are some guest appearances such as Carl Groves on backing vocals.This is the 2CD limited edition.  Long out of print we were able to score some copies.  It comes with a bonus disc of cover tunes.
    $9.00
  • NEW REMASTERED EDITION PACKED WITH BONUS TRACKS!!Highly Strung found former Darryl Way's Wolf drummer Ian Mosley on board and it was a big improvement. As was typical of Hackett's work at this point it was a bit uneven - the high points being extremely high with the pop bits not being nearly as successful. Regardless I can listen to him play guitar any time or any place. Remastered set includes three bonus tracks as well as interesting liner notes from Steve Hackett.
    $12.00
  • "The first Primus album to achieve much widespread airplay (thanks to its release on a major), and the one that broke them on MTV, Sailing the Seas of Cheese completely redefined the possibilities of the electric bass in rock music for those who'd never heard the group before. Slapping like a funk player, but strumming power chords and finger-tapping like a metal guitar hero, Les Claypool coaxed sounds from his instrument that had rarely if ever been made the focus of a rock band. Claypool's riffs were so full and dominant that they hardly needed to be doubled by guitarist Larry LaLonde (and wouldn't have had the same effect anyway), which freed him up on most songs to launch into dissonant, atonal solos that essentially functioned as texture, complementing Claypool's oddly whimsical sense of melody. The combination results in a weird atmosphere that could be transformed into something dark or eerie, but Claypool's thin, nasal voice and demented blue-collar persona place the record firmly in the realm of the cheerfully bizarre. The compositions are mostly riff-driven, fleshing out their heavy metal roots with prog rock tricks from Rush and Frank Zappa, as well as the novelty side of Zappa's sense of humor. The willful goofiness may alienate some listeners, but it can also obscure some genuinely dark humor, and it never detracts from the band's frequently stunning musicianship. Somewhat analogous to jazz trumpeter Dizzy Gillespie, Claypool hasn't inspired many direct imitators because of his tremendous feats of dexterity. But his stature as a virtuoso able to take his instrument into previously undreamed-of realms is without question. Though Sailing the Seas of Cheese tones down Primus' penchant for jamming, it's the tightest, most song-oriented representation of their jaw-dropping, one-of-a-kind style." - All Music Guide
    $5.00
  • "Problems with the Mushroom label delayed the release of Magazine, which eventually went platinum and peaked at number 17 on the album charts. Only the hard-rocking "Heartless" made it into the Top 40, and the album didn't really live up to Heart's last few efforts. 1976's Dreamboat Annie showed stronger songwriting, while Little Queen had a lot more bite to it. Magazine lacks in energy and, to a much greater extent, fluency. The songs sound careless and scrambled together, and while some of the blame can be placed on the label controversy, it's apparent that the Wilsons seem unconcerned, for the most part. "Here Song," "Just the Wine," and the predictable "Without You" all have weak seams in both the writing and the articulateness of the tracks as a whole. 1978's Dog & Butterfly shows more interest and rock & roll vitality than its predecessor, making Magazine an album even the band likes to forget about." - All Music Guide
    $6.00
  • No subtleties here. This is pure bible thumpin' prog done up as only Mr. Morse can. The core trio remains Neal Morse, Mike Portnoy and Randy George although there are some guest appearances such as Carl Groves on backing vocals.
    $8.00
  • "Counting Leslie West's July 1969 solo album, Flowers of Evil was the fourth album in 28 months for West and Felix Pappalardi's Mountain, and the pace was catching up with them: Flowers of Evil was only half of a studio album with five new songs, its second side filled up with a live 25-minute rock & roll medley and encore of Mountain's sole Top 40 hit, "Mississippi Queen." This was unmistakable evidence that Mountain had run their course. There would be live albums, compilations, and reunions over the succeeding years, but Flowers of Evil marked the creative end of a surprisingly short-lived enterprise. " - All Music Guide
    $5.00
  • Limited edition hardbound art book featuring the album on 2CDs, another 2 CDs with instrumental versions of the album, a DVD with "making of" and interview footage, plus a 48 page booklet.Arjen Lucassen's long awaited Ayreon project is a total blast.  Like some of the earlier Ayreon albums, it owes as much to prog rock as it does metal.  All the old school heroes like Emerson, Wakeman, Wetton get to strut their stuff showing a young stud like Rudess a thing or two.  As always Lucassen latches on to some of the best vocalists around and this one is no exception.  Highly recommended."You know what the metal world needs more of? Musicals. I'm not saying that ironically either. Sure, we have plenty of prog bands putting out concept albums, but cool as these records many be, the story themselves are not the focus of the album. Ayreon mastermind Arjen Anthony Lucassen has resurrected his grandest of all projects to continue showing these folks how to tell an epic story the right way.With 01011001 the Ayreon story came to an end, or so we thought. Arjen instead decided to focus on projects like Star One, Guilt Machine, and his solo album Lost in the New Real. When he revealed not too long ago that he was working on a new project, it wasn't a surprise to discover it was new Ayreon, but I was still plenty excited.Lucassen said of the newest record, "It's not science fiction, but a human story set in a science context." So no aliens or battling emotions or any of that. So, in an attempt to better understand the story, I contacting him for the lyrics and much to my surprise, he sent them to me saying, "Oh yes, you need the lyrics, definitely." Holy hell, was he right. The story is indeed more grounded than previous records, but there are still layers to this beast.Fans of Ayreon should know what to expect here. The Theory of Everything has seven guest singers and each singer plays a part in the story. They are JB (Grand Magus) as the Teacher, Christina Scabbia (Lacuna Coil) as the Mother, Michael Mills (Toehider) as the Father, Tommy Karevik (Kamelot) as the Prodigy, Marco Hietala (Nightwish) as the Rival, John Wetton (Asia/ex-King Crimson) as the Psychiatrist, and Sara Squadrani (Ancient Bards) as the Girl.Of these singers, the most impressive is the relatively unknown Sara Squadrani. She performs on a large portion of the story and shines every time, especially on "Love and Envy". I was also surprised to be so enamored with the performance of Christina Scabbia. She's always had  a wonderful voice, but her performance in this record might be her finest. Her harmonies with Squadrani stand out particularly on "Mirror of Dreams". This isn't to say only the performances by the female singers are worth mentioning. Tommy Karevik's introduction in "The Prodigy's World" is one of the strongest moments on the album.Every Ayreon album comes an eclectic group of guest musicians. This round primarily consisted of guest keyboardists. Rick Wakeman (ex-Yes) handles a good portion of the record, while Keith Emerson (Emerson, Lake & Palmer) and Jordan Rudess (Dream Theater) both make excellent solo appearances on "Progressive Waves".Having listened to all of Lucassen's albums at least once, I can say The Theory of Everything is the most musically diverse offering he's had a hand in, perhaps with the exception of his solo record. This isn't as heavy as previous Ayreon titles, but it has its driving moments like "Collision" and the Dream Theather-esque "Frequency Modulation." The aforementioned "Love and Envy" is a slower introspective song, while "Diagnosis" is massive and a little cheesy, but so awesome. "Transformation" has a Middle Eastern feel to it, and  "The Eleventh Dimension" sounds like intergalactic renaissance faire music.Often times there are jumps in mood, genre, etc in the middle of a song. This is fairly typical for an Ayreon release; what isn't typical is that technically this record consists of only four songs. These four songs are each at least twenty-one minutes, but they are cut up into forty-two pieces (yes, that's a Hitchhiker's Guide to the Galaxy reference) .This is a fun record. It's a record that does require a time commitment. I'd say listeners should treat it as a proper musical or film in a theater. Try to experience it all in one sitting for the full effect. It's absolutely worth it." - Metal InjectionSTRICT LIMIT OF ONE PER CUSTOMER
    $40.00
  • "The first thing that came to my mind when I put on the new release Smorgasbord by Norway's The Brimstone Solar Radiation Band was just how much good music is out there that most people never get to hear. In a perfect world these guys would be massive and deserve to have their music heard. Smorgasbord is the band's third full length album. They also have an EP that is no longer available.Consisting of R. Edwards (vocals, guitar), Erling Halsne Juvik (guitar), Thomas Grønner (drums), Øyvind Grønner (keyboards) and Biff (bass), The Brimstone Solar Radiation Band make music that is sometimes hard to pigeonhole into a specific category. You will hear progressive moments to be sure and so many infectious melodies you will probably begin to lose track. If there is such a thing as ear candy this is it, however, this disc contains so much more than that.Musically the band has roots in the sixties and seventies but also employs a modern sound that prevents this from becoming a rehash of the past. These are all very talented musicians but special mention should be given to Thomas Grønner's drum work. His ability to change speed and tempo really form the backbone of these twelve songs.From the opening notes of the quirky pop/rock of "Medic" where an irresistible guitar melody in the form of choppy rhythms playfully mix with organ sounds having a distinct Doors feel, one just knows there is something special here. Folk music can be heard in the beautiful acoustic ballad "Godspeed Mother Earth" a pleading lament to our planet that really pulls on the heartstrings. The saxophone solo combined with lovely background vocals is a real treat. One of the highlights among many has to be the sheer pop delight of "Happy" and that is exactly how I feel after listening to this song. There is a subtle jazz influence heard amongst the light splashes of piano, but the main melody is pure pop with a heavy nod towards XTC, especially in the harmony vocals. The feel good pop/rock of "The Great Yeah" with its killer vocal harmonies and Beatlesque guitar work is another winner that also features a tasty organ solo.There are also unexpected surprises like "Animal Riot Hill" where heavier riffs of organ and guitar come together only to morph into the slow burn of saxophone and jazzy drum work making this one of the CDs defining progressive moments. Beatle's fans will have a real appreciation for the melodic "Strings To The Bow" featuring strings and lovely harmonies. The album's last song is the melancholic "A Hill Of Beans" where lovely acoustic guitar and strings create a breath of fresh air ending the CD in fine style.Smorgasbord will surely make my 'best of' list at the end of this year. With its eclectic mix of prog, pop and psychedelic inflected rock, The Brimstone Solar Radiation Band are a force to be reckoned with. Highly recommended!" - Sea Of Tranquility
    $6.00
  • A new Glass Hammer is like a universal constant.  I can always expect exemplary old school prog rock.  For an old timer like myself Glass Hammer is right in my wheelhouse.  This is their 17th studio album (amazing!) .  If you are unfamiliar with the band you should know it revolves around the core of bassist Steve Babb and keyboardist Fred Schendel.  There have been a lot of musicians through the doors of their studio over the years but somehow they always seem to find an endless supply of them.  The line up seems to be fairly stable at the moment.  Salem Hill mainman Carl Groves handles lead vocals along with Susie Bogdanowicz returning as well.  Guitars are handled by Kamran Alan Shikoh and drums by Aaron Raulston.Glass Hammer music is a reverential amalgam of Yes, ELP, Kansas and what the hell throw in a little bit of Genesis.  Steve and Fred proudly wear their influences on their sleeves.  Want wicked keyboard pyrotechnics?  Fred brings the thunder.  In fact they all do.  The Breaking Of The World arrives with epic length tracks and audiophile quality sound.  I wouldn't want it any other way.  BUY OR DIE!
    $12.00
  • Rob Reed is the leader and keyboardist of Magenta - we all knew this.  I think what is less well known is Rob's proficiency on other instruments.  Sanctuary is an instrumental tour-de force in which Rob plays all the instruments himself.  His clear, and unabashed, inspiration for Sanctuary is Mike Oldfield's iconic Tubular Bells album.  The imprint of Oldfield on the composition is undeniable.  Reed wears his influences on his sleeve with no shame.  He's even brought in the Tubular Bells production crew of Tony Newman and Simon Heyworth to handle production and mastering.  Its an epic sounding recording and you'll get to hear it in all its glory - the set comes with a DVD that features the album in both a 5.1 surround as well as 24/96 hi-res stereo mix.  BUY OR DIE!"Multi-instrumentalist, producer and composer Robert Reed (Magenta/Kompendium), announces the release of a unique new album, Sanctuary, on 21st July through Tigermoth Records. Sanctuary is produced, mixed and engineered by Robert Reed, who is joined by legendary T u b u l a r B e l l s producers Tom Newman (as co-producer) and Simon Heyworth, who mastered the album. The album will be released in 3 formats: CD, vinyl and DVD 5.1 surround.Rob Reed was inspired to become a musician and composer at the age of seven after discovering Mike Oldfield’s Tubular Bells. So inspired was he by the album, that he learned to play not just one, but all the instruments featured on the album. Sanctuary is the fruition of a decision that Rob made in January 2013 to utilize his abilities as a multi-instrumentalist and create an album in the style of Tubular Bells; he recalls: “The next four weeks were a blur as the music just came out. It turned out to be the most enjoyable album I’ve made. I wanted to play all the instruments, and for all of them to be real; no synthesized or sampled instruments, just the real thing.”Rob Reed was determined to keep his vision of Sanctuary intact and play all the instruments himself: “I just had a blind confidence that I could play them all. I owned all the guitars, etc in my own studio but had to hire the larger percussion instruments, like timpani’s and tubular bells, so the lead percussionist of the Welsh National Orchestra turned up with a lorry full of the most expensive percussion. For two days he frowned as I made my way through playing these instruments, like a kid in a sweet shop. Whenever I struggled he continued to ask if I wanted him to play them. I replied that I couldn’t, as it would break the pledge of making the album by myself.... Everything is played by hand by myself, except for guest vocalists, Synergy Vocals.”Reed was conscious that he was treading a fine line in preventing Sanctuary becoming a pastiche of Tubular Bells. He continues: “I worked hard to make the melodies stand on their own. I wanted to capture the emotion that Mike Oldfield managed to communicate through his playing that replaces lyrics. I wanted to use voices, but not have lyrics; just vowels combined with nonsensical words. Synergy Vocals were accustomed to this, having worked with Philip Glass and Steve Reich.”Reed secured the collaboration of Tubular Bells producers Tom Newman and Simon Heyworth after seeking their seal of approval. Reed comments: “Simon told me when he heard it, he closed his eyes and was back in the Manor Studios in 1973 and commented on how well it was executed. I contacted Tom to ask if he could offer any advice on the mix or production, and when we finally spoke, he was really complimentary and offered to get involved in the production and mixing; he also had loads of ideas about structure and arrangements. He has been invaluable with his insight and was always there when I was struggling to finish the album. All the timing errors and tuning errors are left in... it was real”.Tom Newman says: “I really enjoyed working on this - I had carte blanche and just enjoyed sculpting the sounds into shape, and placing all the beautifully crafted parts in the right places in the musical landscape . . .”Multi-instrumentalist, producer and composer Robert Reed (Magenta/Kompendium), announces the release of a unique new album, Sanctuary, on 21st July through Tigermoth Records. Sanctuary is produced, mixed and engineered by Robert Reed, who is joined by legendary T u b u l a r B e l l s producers Tom Newman (as co-producer) and Simon Heyworth, who mastered the album. The album will be released in 3 formats: CD, vinyl and DVD 5.1 surround.The result is an astounding piece of emotional instrumental music."
    $17.00
  • Sound Of Contact is a new band put together by Simon Collins and session keyboardist Dave Kerzner.  Yeah - Simon is Phil's son.  The apple doesn't fall far from the tree - Simon plays drums and he also sings.  His voice is eerily like his dad.  At times virtually indistinguishable.  The music follows a similar path to Phil's work with Genesis and solo.  Parts of the album are pure prog - in fact the album closes with a killer 19 minute epic called "Mobius Slip".  Other parts of the album exhibit a poppier more commercial side.  I don't think of the album as a pop album - its a prog rock album.  Kerzner provides some very interesting keyboard work - lots of intricacies through out the album.  There is that commercial element that reminds me of Genesis in the 80s.  With his voice sounding so much like his father, Simon will always be cursed with being compared to Phil.  That's a fact.  Overall I think he's come up with an interesting album that fans of more contemporary progressive rock will enjoy.
    $12.00
  • "Described as “the Enya of heavy metal” and a Celtic vocal goddess, Leah’s brand new EP will certainly make waves with fans of acts like Nightwish or Leave’s Eyes. The beautiful siren has a voice that is unmistakably brilliant, showing off right from the start on piano-laden ballad “Shores Of Your Lies.” But for those of you who might be under the assumption that this is just going to be a light-hearted affair with no sign of guitars, drums or other metal elements, you are quite wrong. “The Northern Edge” sounds exactly like what would happen if you threw Enya right into the middle of a sprawling metal band, blast beats included. I don’t know about you, but I’m already impressed with this one. “Surrounded” is a bit lighter, but still showcases Leah’s vibrant vocal chords and some slick guitar playing to boot. I think that other female vocal artists are going to have a healthy amount of competition in this woman, who once again proves her prowess with “Do Not Stand At My Grave And Weep.” But finally, there’s the album closer “Dreamland,” which features none other than Eric Peterson (Testament, Dragonlord) on vocals. With his black metal approach (and a so/so clean vocal that doesn’t work for the piece) providing a great balance of dark and light, along with thundering guitar riffs – this track definitely sets the stage for a welcomed heavier side of Leah. Maybe not everyone will understand it, but even if you don’t, you can’t deny that the other four tracks on this EP are quit magnificent. Out of the many female vocal pipes that I’ve heard in the metal and rock genres, Leah is a force to be reckoned with. Metal has never been more majestic." - New Noise
    $10.00
  • "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