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Discovery

SKU: EK85420
Label:
Epic/Legacy
Category:
Classic Rock
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Remastered with 3 bonus tracks.

"Electric Light Orchestra continued on their winning Top 40 ways with the release of Discovery. Now pared down to the basic four-piece unit, Jeff Lynne continued to dominate the band and they still got their hits (this time around it was the smash "Don't Bring Me Down"). Elsewhere on the disc there was, of note, "Last Train to London" and "Confusion." Though Discovery charted well, it was becoming obvious that ELO were starting to run themselves out of useful Beatles hooks with which to fuel their hit-making machine." - Allmusic

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  • "Whereas certain metal splinter genres like sludge and doom have found their requisite bands experimenting in ways that are still decidedly metal – or at least "extreme" by any measure – other areas such as black and post-metal see their own representatives in a practical race to see who can shed their extreme proclivities altogether. Alcest is one such band.Flirting with 90's indie rock trappings is nothing new for this French duo – essentially the one-man project of multi-instrumentalist Neige backed since 2009 by the drumming skills of Winterhalter – but Shelter is their first complete abandonment of metal altogether… there is nary a blastbeat, growl, nor brutal riff to be found anywhere on the album's concise 45-minute running time.That's not to say that Neige is reinventing the wheel, though; Shelter is a straightforward mix of 4AD dream pop and the type of ethereal post-rock that Explosions in the Sky are best known for… not to mention the gauzy shoegaze overlay that such an alchemy implicitly guarantees, of course.It sounds derivative on paper, but somehow Neige transcends his cookie cutter influences and produces a work of heart-stopping elegance and profundity. "Voix Sereines", in particular, is hands down the most plaintive and delicate work of the man's already illustrious career, a despondent lullaby of music box melodies and wistful singing that is fittingly placed in the middle of the track listing… it's the soul of the album, and belongs as its nucleus.The twang at the end of the guitar lines on the title track could – if taken out of context – herald the introduction of a new Mazzy Star single, but Alcest aren't quite that predictable. Twang aside there is no further evidence of roots rock assimilation, no blues aside from the heartache rendered potently clear in Neige's understated vocals. Nonetheless, this would make a fine crossover single aimed at whatever constitutes indie rock radio in 2014.Then again, so would "Away", which many reading this will insist even more a graceful composition than my pick of "Voix Sereines" above (those who aren't chastising the band for "going soft" in the first place, that is). I can't really argue that point, but all it does is prove what a deep bench Neige is culling for inspiration this go round.Perhaps the best evidence that Neige is not beholden to the orthodoxy of his influences is the way he builds toward a crescendo on album finale, "Délivrance". Rather than the ringing chimes that have become the hallmark of tension-building in post-rock (Explosions in the goddamn Sky), Neige shows restraint by settling for a very gradually rising chorus with subtle percussive acceleration. The final 2:30 minutes of the song consists of an unnecessary reprise, but in spite of contributing minor bloat it's still a fitting tribute to Neige's classical ambitions here.The word "masterpiece" gets thrown around a bit too frequently – often in service of albums that will be forgotten altogether a few years down the road – but if you can wrap your head around the fact that Alcest are no longer a metal band in any way, shape or form, Shelter is deserving of whatever hyperbole you care to throw at it." - Metal Injection
    $15.00
  • Its been four years since this British ensemble's debut album.  Been a long time coming but there have been a number of personnel changes in the band.  Founding members Alex Crispin (vox/keys) and bassist Dan Pomlett left the band, while guitarist Nicholas Richards switched over to bass.  While the band went through a state of flux their core sound didn't really change a hell of a lot.  Yeah maybe its pared down a bit but it is still steeped in the sounds of the early 70s.  Mellotron, organ and reeds abound.  Guitar is a bit more dominant but still with that retro Vertigo vibe.  Vocals only appear on one track and they are OK.  Think in terms of an instrumental VDGG in a massive jam session with members of Soft Machine and Eloy.  As if!  I will be hard pressed to come across a better progressive rock album released in 2012.  BUY OR DIE!
    $13.00
  • Fourth album from this seminal US band. Deluxe remastered reissue also features detailed liner notes, 2 bonus tracks, original artwork and unseen photos.
    $12.00
  • "Presenting radio with one of the best rock ballads ever, Cornerstone gave Chicago's Styx their big break with the number one single "Babe," which held that spot for two weeks in October of 1979. "Babe" is a smooth, keyboard-pampered love song that finally credited Dennis De Young's textured vocals. While this single helped the album climb all the way to the number two spot on the charts, the rest of the tracks from Cornerstone weren't nearly half as strong. "Why Me" made it to number 26, and both "Lights" and "Boat on the River" implement silky harmonies and welcoming choruses, yet failed to get off the ground. De Young's keyboards are effective without overly dominating the music, and the band's gritty rock & roll acerbity has been slightly sanded down to compliment the commercial market. The songs aren't as tight or assertive as their last few albums, but Shaw's presence can be felt strongly on most of the tracks, especially where the writing is concerned. Outside of "Babe," Cornerstone tends to sound a tad weaker than one would expect." - Allmusic guide
    $8.00
  • Double CD set contains the two great - but recently out of print - albums from the Seattle thrash band that morphed into Nevermore. Warrel Dane at his finest!
    $16.00
  • Epica finally releases a live set and in typical fashion its nothing short of over the top and immaculate. The performance was recorded as part of the Bartok + Miskolc International Opera Festival in Miskolc, Hungary on 6/14/08. The set starts out a bit weird...the orchestra starts off with some classical pieces and then they are joined by the band who kick in and energize these warhorse tracks. They even do some oddball covers of movie soundtrack music. Finally Simone Simons takes the stage and the band soars through a selection of material from their catalog - all with the backing of the orchestra. I don't think there is a DVD planned although I wish there was - this must have been a sight to see. Once again Epica are EPIC! Highest recommendation.
    $16.00
  • Quatermass were a killer "one and done" prog trio from the UK.  Consisting of John Gustafson (bass, vocals), Peter Robinson (keys), Mick Underwood (drums), Quatermass' music had a heaviness about it that could almost (but not quite) classify it as hard rock.  In fact Gustafson and Underwood went on to play with Ian Gillan.  Of course the star of the show is Peter Robinson, who you are probably more familiar with his later work with Brand X.  Hammond organ is the focus here and Robinson rips the hell out of it.  If you are a fan of ELP you should probably be checking this one out.The previous CD incarnation was released on Repertoire and has been unavailable for years.  This is a new CD/DVD edition.  It features a new stereo mix by Peter Robinson and includes 2 singles tracks as well as 2 previously unreleased tunes.  The DVD features the album in a 5.1 mix.  Highly recommended.
    $17.00
  • New album clocks in near 80 minutes. No insanely long epics and the album is probably all the better for it. About as proggy as these guys have ever gotten.
    $13.00
  • "Riot has always been ahead of the curve, be it their powerful riff machine, or their unapologetic status as pioneers in the speed metal genre. I would like to take an opportunity to differ once again with the common viewpoint here, this is not “almost” Painkiller 2 years before; it is its doppelganger, at least in terms of kick ass aggressiveness and image. It is a more musical and complex answer to the thrash genre that it fathered; its spirit is that of a triumphant warrior cutting down its foes. While the heroic Painkiller soared through the sky putting fear into the hearts of his enemies, Thundersteel’s half-cyborg/half-tank body stood tall to face them on the ground.In 1988 metal was mostly known by its image, and if you judge these guys by that alone, they look like the bastard sons of Motley Crue and Judas Priest. But when Tony Moore blasts his high banshee voice into the microphone, he sounds like a crazed Viking Berserker ready to behead an army of frightened Romans. Mark Reale, the only remaining originator of this outfit, wields his guitar like a battle axe and challenges the likes of K.K. Downing, Dave Murray and Ross the Boss. Bobby Jarzombek, who is well known for his work with Rob Halford’s solo project, as well as several other bands, gives the performance of his life on here. Don Van Stavern keeps the bottom end solid and has a wicked bass intro in “Johnny’s Back”.There is never a dull moment on this album, from start to finish it grabs you by the throat and commands you to praise the Gods of Metal. Be it the fast as hell title track, which rivals anything Judas Priest has ever put out, or the more moderated Deep Purple riff monster “Sign of the Crimson Storm”, it screams metal. You’ve got an anthem of rebellion and non-conformity at warp speed like “Johnny’s Back” in the running, or the Manowar inspired heavy ballad “Bloodstreets”, which gives Heart of Steel a run for its money. “Fight or Fall” and “Flight of the Warrior” have memorable choruses and plenty of amazing lead work, all done by the original speed metal riff man Mark Reale, while “On Wings of Eagles” is a better produced version of something you might find on Kill Em’ All.We’ve got two highlights on this album, both of which are a good bit different than the lion’s share of speed driven songs on here. “Run for your life” is an upper mid-tempo crusher with tons of great lead guitar work, but it’s true charm is the chorus, which reminds me a bit of the high/low vocal interchanges that you hear on Dio’s early material. “Buried Alive (The Tell Tale Heart)” is actually a bit reminiscent of Crimson Glory’s work on Transcendence, which came out the same year that this did. You’ve got a rather odd spoken intro with a clean and somber guitar line, followed by some brilliant twin guitar soloing (all done by one guy, just the same way Tony Iommi did it). After 3 minutes of mind-blowing, we get a slow and evil sounding groove that grows into a brilliant homage to the NWOBHM, names like Iron Maiden and Angel Witch come to mind.In conclusion, this is a piece of metal history that demands to be listened to. If you are a power metal fan who lives for speed and melody, get your tight jeans wearing ass to the store right now. If you’re a holdover from the glory days of traditional metal and you don’t have it, get it now or risk having your credentials as a metal head questioned. If you love thrash with attitude, this gives the bands that carry that label a run for their money. Fans of Judas Priest, Manowar, Helloween, Running Wild, and Iron Maiden in particular will love this. There is a new power alive in the distance, carrying a fully charged plasma cannon, followed by an army of true metal warriors, and his name is “Thundersteel”." - Metal Archives
    $7.50
  • Remixed and remastered edition comes with a bonus CD with instrumental tracks and demos."Death was unquestionably one of the, and arguably the primary innovators of the death metal genre, but it was with this album that Death truly built their legacy as one of the greatest metal bands ever. This marked a new phase for Death, turning them from a band into essentially a Chuck Schulinder solo project, with every song on this album, and all future Death albums, being written by Chuck alone. This also marked the beginning of a series of releases of rare, extraordinary quality culminating in the release of the phenemenol Sound of Perseverance, which I consider to be the best Death album, and one of the few greatest albums ever recorded by anyone. If you haven't heard any Death, that is perhaps a better place to start, but this fantastic release still belongs in any metal fans collection, and is probably my second favorite Death album.Though Death was initially a pure Death metal band, this release and all future Death releases are better described as progressive death-thrash, perhaps leaning a bit more towards the thrash side. It's difficult to say why this is, other than to say that it feels more like thrash than death, to me anyway. Though it maintains much of the increased brutality of death metal, the riffs are very thrashy structurally, and they are always clean and crisp, not blurry and noisy as they tend to be in fast death metal. As a whole the riffs come a cross as a stylistic melding of those found in Reign in Blood and Beneath the Remains. Similarly, the drumming tends to be more thrashy, avoiding the blast-beat style drumming also common to death metal. Speaking of the drumming, Sean Reinert of Cynic is a fantastic drummer, though I prefer the later work of Gene Hoglan and Richard Christy. Sean doesn't seem to have as much personality stylistically as do those 2. To his advantage, he is probably the most accomplished double bass drummer I've ever heard, with even more extensive use of them than the latter 2. He can do them incredibly fast, but still mixes up the tempos more than any drummer I've heard. The rhythm guitar work is excellent as well, some of the fastest and most technically accomplished work around. Chuck seems unable to write an uninteresting riff. The solos/leads are good, but not great, and not nearly as good as they'd become just one album later. They still have their moments, particularly on the instrumental Cosmic Sea and and Lack of Comprehension. The bass is, sadly, pretty much MIA except on the aforementoined Cosmic Sea, where he does a nice, if short solo. Chuck's inimitable vocals fit the music very well, and he writes some thoughtful lyrics.The only real conceivable complaint against this album is that other than the relatively mellow instrumental it has little variety. The intensity rarely relents, and it tends to focus on the extremely fast tempos, though every track drops down to more mid-paced tempos at leat occasionally. However, though it lacks variety, it is very consistent, with the track quality ranging from very good to brilliant. The opener, Flattening of Emotions is probably my favorite track, and is the fastest and most unrelentingly intense track on the album, though it still has a very memorable chorus. The next track, Suicide Machine, is another standout. A bit slower, though it still knows when to kick it up to speed and its got another strong chorus. Lack of Comprehension is another speedy number, with some nice stuttering, jumpy riffs and short leads thrown in as well.(It also has the best solo on the album.) Anyway, enough about the individual tracks. They all rule.Thats really about all I got to say. Truly, a great metal album. Get it."
    $13.00
  • One of the great hard rock albums of the 70s.  After Uli Jon Roth left the band he was replaced by Matthias Jabs.  His guitar technique was far removed from the neoclassical stylings of Roth, taking a more traditional hard rock/melodic metal approach.  Returning to the fold is Rudi's brother Michael Schenker.  With streamlined songwriting it all comes together.  A non-stop killer.
    $7.50
  • After a 10 year absence Enchant are back.  The band started in 1993 making them one of the earliest prog metal band.  Actually they are sort of an interesting band in that they seem to exist in both the prog rock and prog metal realms.  Some metal fans think of them as a bit lightweight and some prog rock fans think they are too heavy!  One thing is for sure they are wildly successful.  This is definitely prog but it never loses sight of the melody.  Fronted by the great Ted Leonard (who is now doing double duty with Spock's Beard) this one is a no-brainer - whether you are metal or prog head.  "irst impressions are the similarities to Spock’s Beard. Hardly surprising since Ted Leonard has been singing with them since 2011. He’s been with Enchant longer; their first CD came out in 1993. And familiarity doesn’t breed contempt here, fortunately.Bay area progressive rockers, they steer a straight course composing guitar-structured songs that they extemporise over. Guitarist Douglas A Ott is also the band’s main producer, with The Great Divide having been recorded at his own studio, but if in the past the band’s followed his direction they’re now more involved after a ten year gap working on other projects. Also, while integral, Ott doesn’t dominate Enchant’s sound but flows in and out adding a hard rock bias to their generic musical flavouring. Drummer/percussionist Sean Flanegan and bassist Ed Platt have the solidity of early Kansas and musically there are some pretty snazzy and often too brief keyboard solos from Bill Jenkins.A rolling cyclical bass line forms the basis of opening number ‘Circles’ with Leonard pondering life going round well, like a circle – while the lyrics aren’t profound they feel right and though this isn’t a concept album, despite the band stating otherwise, there are common themes concerning the human condition in a loosely existential manner. Mainly straight verse and choruses ‘Circles’ breaks out into more complicated time signatures before an acoustic comes to the fore, vocals return, an electric guitar take over and it concludes with a nicely warm keyboard solo. ‘Within An Inch’ follows with a steady rock backbeat over which Ott’s playing echoes Camel’s Andy Latimer interrupted briefly by some John Ellis punk-styled sirening. ‘The Great Divide’ follows suit in a more epic manner, the arrangement akin to Genesis in their golden period.Enchant don’t play with the fairies, despite what their name suggests. If anything they’re two steps removed from an AOR sound leaning in towards early Asia with some latter day Beatles thrown in, and a less grandiose take on Spock’s Beard. One might refer to them as technically proficient rather than emotionally overwrought, meaning there is a heartfelt flavour to their songs, and they tend to grow on you.The subdued opening to ‘Life In A Shadow’ throws a brief curveball echoing the Canterbury sound of Hatfield & The North before a heavy chorded chorus takes this into a rocking tune with soulful harmonies. ‘Deserve To Feel’ pours on the technical drumming and dribbling triplet bass figures with some flashy pyrotechnics predominantly on guitar but with keen keyboard flourishes, moving into a more intricate musical score as Jenkins and Ott trade inspired lines towards its conclusion. Likewise, ‘Here And Now’ builds reflectively moving towards emotional drama.Finely composed, played well, Enchant’s The Great Divide might not have you falling under its spell, but you may well be surprised how you find yourself being drawn to playing it." - The Midland Rocks
    $13.00
  • Lethal German underground hard rock band led by guitarist Frank Diez. Originally released on Kuck Kuck back in 1970, its always been a high priced rarity and with good reason.
    $28.00
  • This is another one of those classic Renaissance radio broadcasts that tape traders have circulated for years.  It gets an "official" release courtesy of Purple Pyramid.  It was recorded on the Turn Of The Cards tour at the Academy Of Music in NYC on May 17, 1974.  If you are fan and you don't have a cassette squirrelled away somewhere you need to own it.
    $15.00