Pandora's Piñata

“Diablo Swing Orchestra could be Tim Burton’s dream band” – Outburn

“Diablo Swing Orchestra are a Swedish band straight out of a Tom Waits nightmare. They sound exactly like their name suggests, making dirty, raucous swing, updated with some punky power chords, but the operatic Swedish vocals and nearly death-metal growls separate the band from the swing revivalists of the late ’90s. Definitely not the kind of band one would expect coming out of a Scandinavian country. But hell, there’s no rule that says creepers and fuzzy dice don’t go well with Viking helmets.” – Lost At E Minor

The music of Sweden’s Diablo Swing Orchestra is unlike any other group on the planet. Their music is an eclectic mash up of metal, opera, swing jazz, tango, and spaghetti western soundtrack. DSO is fronted by the glass shattering voice of Annelouice Wolgers, a metal queen at night but an actual opera singer by day.

The band’s third album, Pandora’s Pinata, finds the band expanded into an 8 piece lineup with the permanent addition of two horn players. The new album is a smörgåsbord of different levels of musical insanity building on the foundation laid down on their previous album, Sing Along Songs For The Damned And Delerious.

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  • Lance King is out...replaced by Iced Earth's Matt Barlow."Formed in 2001, Danish power metal band Pyramaze has managed to maintain a fairly steady line up. However, there have been several recent changes to the vocalist position. After releasing two albums with Pyramaze, 2004's "Melancholy Beast" and 2006's "Legend of the Bone Carver," vocalist Lance King decided to step down. Pyramaze would find a surprising replacement in Matt Barlow, who stepped down from American power metal giant Iced Earth in 2001 to pursue a career in law enforcement. However, Barlow's stay in Pyramaze would be brief, as he was only used to record vocals on "Immortal" before reuniting with Iced Earth. Urban Breed is now the current vocalist for Pyramaze."Immortal" has a predictable, but interesting theme. Each song depicts a different form of immortality. Including the recount of the 300 Spartans gaining immortality both historically and mythologically during their legendary last stand at the battle of Thermopolea, to the horror of not being able to escape from a nightmare and a ghost that wanders for eternity. The theme also covers emotional subjects such as finding peace via suicide to suffering in hell and the never ending battle against the demons that plague us everyday. Though immortality has become a cliche in the power metal subgenre, Pyramaze has shown how diverse the theme of immortality can be.Stylistically, "Immortal" is intended to be a power metal epic, and it delivers. The main influences seem to be Iron Maiden and Iced Earth's "Horror Show" and are dominating throughout. Other influences that appear are the Kamelot inspired piano ballad "Legacy in Rhyme," the Children of Bodom keyboard tone and riff in "Ghost Light" and the King Diamond influenced "Touched by the Mara." Symphonic elements give the album a very epic sense. The opening track "Arise" and the closing track "March through an Endless Rain" sound like they could have come from the "Gladiator" or "300" movie soundtracks.The music on "Immortal" is quality symphonic power metal. Guitarist and mastermind Michael Kammeyer puts in an excellent performance with Matt Barlow showing that he hasn't lost a step and delivering a stand out performance. However, the use of some cheesy Dragonforce-esque guitar effects for a few solos along with some cheesy vocal melodies and overly simplistic riffs are my biggest criticism of the album. However, these complaints are nothing new, as every Pyramaze album to date has incorporated those elements. Even so, the cheesy elements are only a small portion of the album and don't take away from the overall epic feel. Overall, "Immortal" is a positive step for Pyramaze." - Metal Underground
    $14.00
  • The Nektar catalog is now being bounced around like a ping pong ball.  This is now the third version that Cleopatra has made available.  Beyond the original classic album you get a bonus disc which features a large portion of the Academy Of Music 1974 show.
    $15.00
  • "Voivod is timeless. That doesn’t mean that the Quebec progressive thrash metal band is frozen in stasis. Rather, it’s a testament to their uncompromising insistence on ever-changing, experimental futurism, with every album existing outside of contemporary style in some alternate universe where guitar pickups are wormholes and drumbeats ripple gravity wells." - Montreal GazetteLimited edition mediabook includes 2 extra live songs, an expanded booklets and 2 stickers. 
    $12.00
  • "After some high profile releases and particularly impressive ubiquity, the ex-DREAM THEATER / A7X drums God Mike Portnoy is back again with his new musical partner the magnificent Bass Maestro Billy Sheehan (NIACIN / TALAS / DAVID LEE ROTH / MR BIG / STEVE VAI / PSMS), under a power trio format, completed by none other than one of the most gifted Guitarist of his generation once Sharpnel Records alumni Richie Kotzen but this time no instrumental trickery, no instrumental knitting, because Kotzen beside his absolute skilled six strings wizardry is also indeed an hell of a fantastic soulful singer and a very underrated vocalist of the best brand. This is a  supergroup, a Dream Team hell yeah…but mostly a great band.With such a busy time schedule for both workaholics Portnoy & Sheehan, we could have feared a fast almost sloppy affair, luckily with this first album is exactly the opposite. Sheehan & Kotzen were working many years together with MR BIG and in fact the sound of THE WINERY DOGS isn’t that far from what Sheehan, Paul Gilbert , Pat Torpey and Eric Martin have magnificently achieved.The album start with groovy 70s infused blast of “Elevate” and followed by the heavy Funk flavor of “Desire” each track feature an intense rhythmic groove with short but impressive unison synchronized lead bass / lead guitar whirlwind licks of exuberant virtuosity, some unexpected harmonies that coming out of the Jazz-Rock / Rhythm N' Blues recipe book owned by Kotzen, but every song carries most of all a strong focus both on the catchy melodies and on the sing-along hooks which are everywhere boosted by rich Backing vocals (“The Other Side” or “The Dying”) really magnetic & irresistible. Those who are familiar with the prolific superb Kotzen’s discography knows that he’s an hugely skilled songwriter with a lot of style in his arsenal, so THE WINERY DOGS debut album is out of the same tradition as THE MOTHER HEAD'S FAMILLY REUNION, “Not Hopeless” contains however some over the top sharing duo between Richie & Billy, in the real MR BIG's shredding frenzy fashion, like a modern day GRAND FUNK RAILROAD with full injection of high tech dexterity.Cuts like “One More Time” or “Six Feet Deeper” seems to be outtakes from the breath taking 1990s “Fever Dream”, with furious playing and great musicality concentrated for an even more efficiency. The Japan only bonus track, “Criminal” is strangely one of the most commercial song with an almost AOR chorus, a syncopated bridge and another outstanding lead guitar solo spot in two parts with a tasty sound. The closing number “Regret” is the sole composition handled exclusively by Mr. Kotzen: it’s a soul music track with slight Hammond layers and a real harmonious balanced to finish this album in a positive way. The pristine production is powerful and crystal clear, still organic with a strong vintage feel but not muddy, in fact it sounds like how Classic Rock in its purest form should sound in 2013. Just unadulterated genuine Rock played by an exemplary bunch of extremely talented musicians and it’s an understatement.After an imposing huge list of albums and projects under his belt, Mike Portnoy with the help of another all-star lineup show to the incredulous crowd of jealous fellows, how his playing field is broad and how he can multiply in an almost monthly omnipresence the recording with the same prestige and the same success as FLYING COLORS / NEAL MORSE / PSMS / ADRENALINE MOB and the forthcoming BIGELF." - Metal Temple
    $14.00
  • The band's fifth album was a brilliant amalgam of Beatles influenced pop and classically influenced progressive rock. I still get a rise out of hearing "Fire On High". This remastered edition comes with five bonus tracks which are a bit dispensible alternate mixes.
    $5.00
  • Second album from this incredible fusion trio from North Carolina will blow your skull off.  Trioscapes consists of Between The Buried And Me bassist Dan Briggs and Walter Fancourt (tenor sax/flute), and Matt Lynch (drums).  Don't let the absence of keys or guitar throw you.  This is mild altering, high energy fusion. You get the chops from hell, tripped out soundscapes, and head throttling melodies.  And that's just the first tune!!!  Utterly lethal.  BUY OR DIE!!"Much of what can conceivable be written of Trioscapes‘ most recent album Digital Dream Sequence is exactly what could be written about their previous offering Separate Realities.Musicians, jazz musicians particularly, may spit their coffee all over their keyboards on reading that, apopleptic and petulant – pointing out that where the previous album was underpinned by Ionic mode progressions, that this one is rooted in the Chromatic (or somesuch muso guff). Suffice to say that, as with Separate Realities, Digital Dream Sequence does not cling to homely pentatonic melodies or major chord, 4/4 song structures.It is a surprising and joyful departure from the predictable, which would be easy to describe as mind-expanding if it did not so closely follow its predecessor in structure and feel.As it is, there are a few physical embellishments to the formula worth noting, but not many. Keyboard fills (or what sounds like keyboards – what Dan Briggs can do with a bass guitar and effects pedals can be confusing at times) bring an extra accent to the pieces, as well as atmospheric depth on, say, the opening sequence of ‘From the Earth to the Moon’. On that track, the use of keyboard wash with a glockenspiel voice is foregrounded in something that tips a hat to Pink Floyd’s exploration of moon themes, before it takes off into something more definitely Trioscapes in its saxophone/bass/percussion attack. The track goes on to finish with an outro that co-opts much of the main theme from Tubular Bells.Keys, elsewhere on Digital Dream Sequence, play a role more to do with sound dynamics than with song structure – they fill a gap in the lower mids that is left between Walter Fancourt’s flute and alto saxophone moments.To state outright that this album sounds like Separate Realities is misleading though – there is much in the way of progression to note, and a gelling of roles between band members who have, onstage and in the studio, found a way to fit their individual talents into a group dynamic. Although there were moments of more-than-the-sum-of-its-parts alchemy on the earlier album, they were rarer than they are on Digital Dream Sequence. The latter has more raw groove, embeds moments of individual technical dexterity into the compositions less abruptly, and overall displays a more comfortable fusion (arg – that word!) between the funk and metal aesthetics that comprise the Trioscapes recipe.Of that curious mix, the mention of both Pink Floyd and Mike Oldfield above may offer some clue – there is a smattering of prog rock reference on Digital Dream Sequence (the intro to final track ‘The Jungle’ particularly) which opens a world of musical territory to the trio. Particularly the rhythms of Mali, which fascinated prog musicians for much of the 80s. Or perhaps that is too fanciful (jazz and funk have, historically, a more direct conduit to African rhythms than anything channeled through prog, after all).Nevertheless, that final track, once one has re-accustomed the ear to the Trioscapes tag-team approach to rhythm, tension and controlled saxophone madness, throbs with a primal, sweaty and utterly invigorating energy that transcends jazz, funk, metal or rock and is its own glorious creation.Which is something that never quite happened on Separate Realities (and bear in mind that Separate Realities was chosen by this reviewer as the album of 2012). This time Trioscapes have thrown off the anxiety of influence, have coalesced their individual contributions into a smoother whole, and have dug deeply to find an immense gravitronic groove.It’s a throbbing monster of an album." - Trebuchet Magazine
    $14.00
  • "One word to describe Universal Totem Orchestra would be unique. This Italian band, formed in 1998 by Uto G. Golin (drums) and Dauno Buttiglione (bass), who has since left the band, is anything but boring. The Magus is their second album, the first being Rituale Alieno. There is so much going on here, so many layers to peel back, that this music is extremely difficult to describe. For a record based in the Zeuhl genre there are a surprising number of melodic moments that find their way to the surface. Subtle guitar phrasings here, a beautiful piano melody there, well you get the idea. Do not get me wrong though, this is not what I would call easy music to digest. It is another one of those albums that will probably take a little time to fully grasp and appreciate, especially if you are unfamiliar with esoteric progressive music.Musically, the band combines a number of styles under the Zeuhl umbrella, such as jazz, classical, symphonic, opera and metal. Probably the most unique attribute of this band are the vocals performed by Ana Torres Fraile and various male performers. You will hear choirs, operatic (tenor and soprano) and traditional vocals all done very well. There is so much happening instrumentally that the listener really needs to pay attention. This would not be good background music as it is one of those albums that demands your full attention. Odd time signatures and sudden stops and starts allowing for different movements to take place is the norm not the exception. It is clear these musicians know how to play and a tremendous amount of work has gone into this piece of music. After all, there are not many albums just short of 80 minutes long so you know you are getting your money's worth. Sometimes with albums this long, the music gets tiresome and boredom starts to set in prematurely but that is not the case here. I never got the sense they made a long album just for the sake of it. All of the pieces fit the musical puzzle and nothing seems excessive or irrelevant. What makes this even more rewarding are some of the nice melodies provided by piano, guitar and saxophone."De Astrologia" gets things rolling with some electronic sounds before delving into some power chords and chanting vocals and a really cool, although short lived, synth solo. An angular lead guitar solo follows and that is just in the first 4 minutes. We also get to hear rollicking piano, some lovely melodies, a variety of singers, and dynamic tempo changes There is a marching rhythm underlying much of the song allowing us to use our imagination as to what the song is about. There is just a lot happening musically, it really is something that you need to hear for yourself, and I can say that for the entire album.One of the shorter songs on the album, "Les Plantes Magiques", begins with a lovely piano melody and great female vocals. This is the most delicate song on the album although the song does have some passionate moments especially in the vocals and drumming. This one has a lot in common with classical music and how movements are allowed to gradually build up in intensity. Sax provides the melody in "Ato Piradime" with nice playing throughout. Electric piano, sax and the voice of Fraile gradually intertwine creating some wonderfully listenable moments.Universal Totem Orchestra must be commended for making an album of such magnitude and scope. While this will not appeal to everyone, those of you who like to take musical adventures outside of the norm, would do well do give this a shot. I found this to be a fascinating and enjoyable listen. Highly recommended." - Sea of Tranquilty
    $16.00
  • So here's my personal confession...after Neal left I felt that Spock's Beard lost their way.  Nick is a fine vocalist but there was something quirky about Neal's writing that had a reverential old school quality that I found lacking.  The albums didn't grab me.  Nick left and Ted Leonard took over on vocals.  Whether it was Enchant or Thought Chamber, he's always stood out and he fits Spock's Beard quite well.  The new drummer Jimmy Keegan slipped into the blend with no dificulty.  The result is (to my mind) a resurgence from this band.  Ryo Okumoto always puts on a show - in particular his heavy reliance on Hammond organ reminds me quite a bit of Steve Walsh.  In fact the sound of the whole album has a Kansas vibe. Coincidentally David Ragsdale guests on one track.  I'm not sure I can remember the last time I said this about a Spock's Beard album - Highly recommended."Very few bands are so recognizable that you know who you are listening to within 2 seconds.  That is all it takes at the beginning of the first track on The Oblivion Particle to know you are listening to Spock’s Beard.  There is no slow buildup or keyboard swells, just straight BAMM!, here we go.  And if the opening notes don’t get you, the organ 5 seconds in will.  The band’s 12th studio album, this one the second with singer Ted Leonard and drummer Jimmy Keegan, is a culmination of years of perfecting a sound and identity, one that not even 2 major lineup changes could fracture. With this new album, Spock’s Beard up their game again and show that this lineup is here to stay.If there was a track that defined what Spock’s Beard are, it might be the opening track, “Tides of Time.”  There are certain checklist items that mark their sound and they are all in this track.  The organ, the harmonies, the acoustic breakdown, the rocking middle and the epic ending.  Each member finds their moments to shine on this one and it provides a jaw-dropping sound overload that could leave one satisfied at that moment; only there is another 60 minutes to go.The album zigs and zags through a few more experimental moments, mixing in some surprises with more traditional Prog elements.  The album’s second track and first single is “Minion”, is a perfect example.  The opening a cappella harmonies provide the sort of memorable chorus and harmonies we’ve come to expect from the group.  While, the following distorted keyboard section is also standard Spock’s Beard.  But the verse and middle of the song is much darker and takes us on a surprising journey.The most unique song the album is the brilliantly titled “Bennett Built a Time Machine”, which the album’s cover is based on.  Drummer Jimmy Keegan takes lead on the vocals here and sounds incredible.  His voice actually fits the track better than Leonard’s probably would have.  The song is one of the album highlights and helps keep the record from sounding redundant.  It is almost a pop song most of the way through until turning on the jets and shifting into Prog mode.There are some heavier moments such as “Hell’s Not Enough” and “Get Out While You Can”. “The Center Line”, however, might be the most similar to something you might have found on their group’s previous album “Brief Nocturnes…”  The track opens with an expansive piano recital piece, before turning into a combo Prog-Western bounce with acoustic guitars carrying the groove. Ted’s voice lifts the choruses flawlessly and creates an almost cinematic soundscape.Even with all of these great moments, it is the album’s closing track that is the best song on the album.  “Disappear” might be one of the best songs the band has recorded since Neal left the group.  “We could disappear, you and me, we could be, anyplace else not here” sings Ted in the chorus as he wonders what might be if we left with no one knowing what happened.  The song is really the closest thing to a ballad on the album, but it doesn’t stay that way for long.  2 minutes in, the song stirs into a frenzy just before a brief cameo by Kansas’ David Ragsdale, appearing with his violin.  Of course, the big epic orchestral ending takes us home as Alan Morse provides the finishing touches with his unique finger picking soloing excellence.Spock’s Beard are Prog rock’s most reliable unit.  They have yet to disappoint and always provide comfort to their faithful fans with music that is both inspiring and breathtaking.  And while The Oblivion Particle shows a harder edged Spock’s Beard, it also displays a group that shows no signs of slowing down and is ready to take on all comers." - The Prog Report 
    $12.00
  • Xandria are back with a new singer and don't miss a beat. Replacing Lisa Middelhauve is Manuela Kraller, formerly with Haggard. The band doesn't deviate from their tried and true formula. This is epic symphonic gothic metal similar to Visions Of Atlantis, older Within Temptation, Edenbridge and countless others in the genre. Having said that they do this style of music about as well as it can be done. Napalm Records has pretty much cornered the market on this sound and I'm sure Xandria is sitting at the top of their roster.
    $12.00
  • Digipak deluxe edition with 5 bonus tracks and a DVD with a documentary and live footage."Fans of musical subtlety and cerebral introspection may struggle with DragonForce's remorselessly preposterous, high-velocity take on traditional heavy metal. In fact, plenty of metal fans – let alone anyone predisposed to disliking something that sounds like Eurovision: the crystal meth years – struggle with their sound. To embrace the band's startling blend of ultra-cheesy melody, fret-melting technical lunacy and quasi-futuristic, videogame bleeps requires an insatiable appetite for self-indulgent, bombastic silliness.Six albums into their career, DragonForce should really be running out of steam. Yet Maximum Overload is as wickedly infectious as their high point from 2006, Inhuman Rampage, and more exciting and substantial than their two subsequent albums. There are more than enough anthemic choruses, startling detours and flashes of ingenuity lurking within the adrenalised bluster of The Game, Tomorrow's Kings and Symphony of the Night to counter the notion that the London-based crew are a one-trick power-metal pony, and an endearingly ludicrous, hyperspeed cover of Johnny Cash's Ring of Fire brings the whole demented enterprise to an explosive close" - The Guardian
    $17.00
  • "SILENT VOICES is a relatively unknown band hailing from Finland, nevertheless they had already published many recommended albums such as their debut in 2002 “Chapters Of Tragedy” or 2006’s “Building Up The Apathy” or the great “Infernal” (2004), the line-up team is also composed by ex-members of REQUIEM and also share some musicians with SONATA ARCTICA like Henrik Klingenberg as keyboardist and bass player Pasi Kauppinen (WINTERBORN / KLINGENBERG SYNDROME). It’s been a while since the last SILENT VOICES album was out in the streets, it had occurred a lot of things in their lives, lots of turmoils, hassles -you name it-, the band was on deep winter sleep and they lost their vocalist, the great but rather inconstant Michael Henneken (SENTIMENT / ADAMANTRA) was gone for good.While they were in quest of searching for a new perfect singer they opted for the trick that consist to have different famous vocalists at the same time in order to increase their creativity and the band’s polyvalence, it’s also a good marketing move but the risk is to weakened the impact, to have a dilution of the personality of the music with each guest singer's specificity but finally the idea works pretty well, I believe.Now the new permanent singer for SILENT VOICES is known as Teemu Koskela from WINTERBORN’s fame (their 2008’s release “Farewell To Saints” is warmly recommended). But the album contains, beside the impressive vocals of Mr. Koskela in the very first song (which is a killer), nothing more than four guest vocalists such as:Mats Leven (ex-TREAT / ex-SWEDISH EROTICA / ex-ABSTRACT ALGEBRA / ex-RISING FORCE / ex-SOUTHPAW / ex-THERION / ex-ADAGIO / ex-AT VANCE / ex-FATAL FORCE / ex-SABBTAIL / DOGFACE), Michael Vescera (ex-LOUDNESS / OBSESSION / ex-RISING FORCE / ex-FATAL FORCE / ex-DR SIN / ex-REIGN OF TERROR / ex-KILLING MACHINE / WARRION / ANIMETAL USA / SAFE HEAVEN / MVP), Tony Kakko (SONATA ARCTICA / ex-NOTHERN KINGS) and Mike DiMeo (PHENOMENA / THE LIZARDS / ex-RIOT / ex-ILLIUM / ex-MASTERPLAN).Swedish citizen Mats Leven is absolutely stunning within the songs “No Turning Back” & with “Burning Shine”, his vivid interpretations, his deep implication and his voice leaves no hope for another contender, his signature vocalizing are clearly unbeatable, he is the king. Those songs are very well composed , maybe a little more direct than before but with still some intriguing arrangements and great orchestrations plus as always some acrobatic playing.Mike Vescera from USA delivers also a very solid performance, within the third track that is quite reminiscent of the SILENT VOICES old style, with an amazing display of virtuosity in the solo section, that’s funny that they opted for the titled “Reign Of Terror” with Vescera singing on it. Tony Kakko is the weakest of all the hired vocalist, the track is quite good but don’t fit with the thin voice of the SONATA ARCTICA’s mastermind, I believe that Teemu Koskela could do a better job with that particular one.“Black Water” is an instrumental number that allows to each member to shine a little more, a fine demonstration of agility. New York City very own Mike DiMeo is doing a fine rendition of this song called “Through My Prison Walls” but I still think that Teemu is able to sing even better, the long epic cut itself  is a good mix of past and fresh Prog Metal , with some amazing musical parts and many twists and turns.Only little disappointment is the length of the disc itself, after seven years in the making I had wished for one more song with Teemu, a remake of an old song could have been a good ide. Maybe this is their best album, I don’t know only time will tell, but it surely can compete with their great back-catalogue, easily. " - Metal Temple
    $14.00
  • "Twelve years, eight studio albums, two live DVDs and tours that have taken them from Moscow to Quebec. Now one of the most enduring third wave progressive rock bands on the scene returns - a band that has never made an album using the same personnel as the previous album. In fact, the same lineup has (to date) never been used twice.But there are regulars. And some of the favorite regulars are back for the 8th album: Flower Kings bass legend Jonas Reingold; the ever-faithful and gifted Theo Travis, familiar to many from his work with the Steven Wilson band, Gong and Robert Fripp, with his arsenal of wind textures from saxophones to flutes; and the return to the fold of the amazingly talented Luke Machin, a guitar hero for a new generation who can even wow the old generations (and who also fronts his own band, Maschine). And of course there's band leader Andy Tillison (keyboards and vocals), the only member of the band to have played on all the records.This team is joined by Morgan Ågren, Swedish drumming phenomenon who can even count Frank Zappa among his previous jobs (others include, but not limited to, Kaipa, Devin Townsend, and his own acclaimed Mats/Morgan Band). Morgan introduces to The Tangent a real live energy full of inspiration and eccentricity.The band, who were only supposed to make one single album in 2003, are now back with their eighth! A Spark In the Aether is a joyous and uplifting romp that sees the band concentrating on their forté: delivering driving, melodic, thoughtful and inspired songs with a large grin on their faces as they do it."Using protest, sadness and negative images in music is a part of an artist's job" says Andy Tillison, "and it's something we have often done. But every so often I think we need to turn to the music itself and remember why it is we get so much from it. On this album I just wanted us to play - have fun, make music and mischief that can be enjoyed just for the sake of it"So, twelve years further down the line, after albums about dystopian societies, midlife crises, alienation, homelessness and communications - the Tangent return to the very beginning and once again celebrate The Music. You are invited to join in."
    $16.00
  • Special edition CD/DVD set arrives in a digipak. The bonus DVD contains Steven Wilson's mixes: DTS 5.1, Dolby AC3 5.1 and 24/48 Stereo LPCM tracks (no idea why it's not 24/96). You also get a lot of documentary footage as well.This should probably suck but it actually doesn't. Because of a rift between Ian Anderson and Martin Barre this is being put into the market as "Jethro Tull's Ian Anderson". As you by now surmise this is a musical sequel to the original album. Again its a concept album updating us on the life of the main character Gerald Bostock. In live performance, Anderson's voice is shot. Within the context of the studio recording he plays it smart and never takes his voice where it doesn't want to go. Lots of Hammond organ and flute gives it the authentic 70s Tull flavor. Admittedly my expectations were pretty low but I have to say that this is far better than it has any right to be.
    $24.00
  • 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