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 Fetish by SEVEN STEPS TO THE GREEN DOOR album cover Studio Album, 2015
3.97 | 207 ratings

Seven Steps To The Green Door Neo-Prog

Review by Warthur
Prog Reviewer

4 stars A very capable neo-prog release which sort of reminds me of the sound that Thieves Kitchen may have evolved into had they taken a different path before the Water Road. Seven Steps to the Green Door certainly have an unusual lineup for a prog band, with two dedicated vocalists in the form of Lars Köhler and Anne Trautmann, but that's because they have a really keen sense of the use of the voice as a musical instrument in its own right, and through working complex vocal harmonies into their work and aptly choosing when to use which vocalists accomplish possibilities which are of substantial benefit to their compositions.


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 Ballet Statique by SCHNITZLER, CONRAD album cover Studio Album, 1978
4.06 | 24 ratings

Ballet Statique
Conrad Schnitzler Progressive Electronic

Review by Warthur
Prog Reviewer

4 stars Conrad Schnitzler had already established a decent electronic krautrock pedigree prior to this, due to his involvement in the early careers of Kluster/Cluster and Tangerine Dream, but this solo album - its title varying between "Con" and "Ballet Statique" depending on which issue you are looking at - is a striking effort in its own right, offering a progressive electronic soundscape highly reminiscent of a middle ground between the sort of direction his former bandmates in Tangerine Dream had taken in mid-1970s albums like Rubicon and would soon take in their late- 1970s/early 1980s work like Thief or Tangram.

This sort of cyberpunk electronic mood music is not for everyone, but for those who like this sort of thing, this is the sort of thing they will like very much indeed, and somehow manages both to provide a precedent for much of the work in this vein that would emerge in the 1980s and seems less dated than many of its imitators.


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 Three Friends by GENTLE GIANT album cover Studio Album, 1972
4.11 | 1026 ratings

Three Friends
Gentle Giant Eclectic Prog

Review by Modrigue
Prog Reviewer

4 stars Three reasons to love this album

Not often cited by fans, "Three Friends" yet remains one of Shulman brothers and co.'s best opuses as well as their most accessible. First concept-album and first auto-production from the band, the lyrics narrate the story of three childhood friends who will later belong to different social class and cease to understand each other's way of life. A track is dedicated to each character: the worker, the painter and the white collar. Less adventurous and demanding than its predecessor, "Acquiring the Taste", this third effort includes shorter compositions with more catchy melodies. This stylistic direction might not always satisfy complex and always changing songs hardcore fans, however this time the musicians somehow take a break by proposing very pleasant and inspired spacey symphonic progressive rock.

Alternating rocking passages and mysterious aquatic keyboards sonorities, "Prologue" is quite an efficient opener. With its modified vibraphone opening, the nice and strange "Schooldays" is pure gentle giant-ish, to then turn into a calm jazzy piano tune. Now come the three songs of the friends. "Working All Day" is the worker's song and may be my least favorite of the disc. A saxophone rock piece with a cool Hammond organ solo. Not bad but fails a little to really lift off.

The painter's song, "Peel The Paint", is rather misleading. Starting discretely, the music becomes suddenly raging and heavy. There are even unexpected furious Hendrixian guitar sections! Wow! Are we still listening to GENTLE GIANT here? Surprisingly, the record concludes with its two best tracks. "Mister Class And Quality?" is the white collar's song. This powerful composition possesses catchy melodies and great instrumental sections. It rocks! The title track simply finishes the album in apotheosis. Quite atypical in the band's discography, it features a religious- like chorus offering a particular ethereal and contemplative ambiance, like if you were about to enter the heaven. Superb!

As promised, here are the three reasons to love these three friends. First, the music remains sophisticated, playful, featuring many changes, while never going too complex or elitist. Second, there are nice rocking passages and catchy melodies. Finally, the particular aquatic organ sound and floating chorus displays a specific floating atmosphere, which is rather singular for the band. Although the middle of the album may contain weaker moments, this is probably my favorite opus from the Shulman brothers and co.

A bit apart considering GENTLE GIANT's other releases, "Three Friends" is their spaciest record, as well as one of their most accessible. The one to start with for newcomers, with their self-titled debut, and an essential listen for symphonic prog rock fans!


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 Transcendence by TOWNSEND, DEVIN album cover Studio Album, 2016
5.00 | 1 ratings

Devin Townsend Experimental/Post Metal

Review by keriboi

— First review of this album —
5 stars Wow. This is good. Real good. Devin is back to his best. The dynamic range and wall of sounds that we all love. This by far the best drumming on any album. It is epic. The guitars are back with some sneaky solos.

1. Truth - Great remake. Its wider. The angelic vocals. It is beautiful. 2. StormBending - Could be a score to a movie! 3. Failure - That Solo! 4. Secret Science - Ok song 5. Higher - Little bit toolish at times. Proggy - Could easy be on Ziltiod 3 6. Stars- Great song. I prefer the Toon Tracks version of vocals. These ones are a little soft. 7. Transcendence - That Drumming!!!!! 10/10 - Reminds me a bit of Ayreon Day 20 8. Offer your light - Upbeat 9. From your heart - Nice Balad 10. Transdermal Celebration - Some great 12 string by Dave. Very poppy with some hummer to finish.

Please Devin, Next album please do a remake of Ocean Machines of Ass Sordid Demos


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 Man in the Moon by NEKTAR album cover Studio Album, 1980
3.21 | 77 ratings

Man in the Moon
Nektar Psychedelic/Space Rock

Review by BigDaddyAEL1964

3 stars This one follows the musical path of "Magic is a Child", but it's not as inspired or quality as it's predecessor.

The album has no weaknesses, but no significant strengths too. Prog pop rock and all, but just not as good as the previous effort. "Torraine" is probably the album's best moment, a bittersweet love ballad with a hard rock bridge, that if it was a bit more refined could easily be a radio hit (if it got edited, as it's 5:30, a bit long for the common radio standards).

A solid 3,5 stars for this one, and yet again an impressive cover artwork.


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 Magic is a Child by NEKTAR album cover Studio Album, 1977
2.99 | 97 ratings

Magic is a Child
Nektar Psychedelic/Space Rock

Review by BigDaddyAEL1964

4 stars Nektar meets later years Genesis in a very good album!

"Magic is a child", "Midnite light", "Listen" and "Spread your Wings" are a quartet of songs that could easily fit in a best of Nektar compilation (the more pop-oriented side of it), and the yet another different music approach by Nektar in this album makes them one of the most colorful bands out there. This album could be categorized as prog pop rock, one of great taste and high quality.

Maybe closer to 3,5/5 stars than a solid 4/5, but definitely an album worth of owning and appreciating. Oh, and the cover art is absolutely magnificent!


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 Switzerland 1974 by SOFT MACHINE, THE album cover Live, 2015
4.00 | 2 ratings

Switzerland 1974
The Soft Machine Canterbury Scene

Review by Mellotron Storm
Prog Reviewer

4 stars Another archival SOFT MACHINE release that I just couldn't say no to, yes I have a problem. They are a top ten band for me though and in my opinion it's the DVD here that makes this a solid 4 star album. Not that I have any issues with the audio cd it's just that I already have "Floating World Live" with this same lineup but recorded a year later, and I just like the audio better from that one. Both of course feature guitarist extraordinaire Allan Holdsworth along with Babbington, Jenkins, Marshall and Ratledge. It is interesting that when Holdworth joined the band SOFT MACHINE decided that any live shows would feature new material with Holdsworth as they never had a guitarist before, let alone one of the best on the planet. Okay I just remembered that Gary Boyle played on the live archival release from the "Seven" tour called "NDR Jazz Workshop-Hamburg Germany 1973" my favourite live release by the band. Another excellent archival live album is "British Tour '75" with John Etheridge on guitar who was recommended by Holdsworth. The latter left when Tony Williams asked him to be part of his band, an offer Holdsworth says he couldn't say no to, just a great opportunity to play with the best drummers ever.

So this 1974 live recording is from Switzerland and more specifically the Montreux Jazz festival on July 4th. So people in the audience would be hearing material not yet released that would mostly appear on the "Bundles" album. I like when the boys finish playing and the announcer comes out and introduces each member of the band then before he walks off he says it was nice to see John Marshall again and he mentions seeing him at the same festival 4 or 5 years earlier with NUCLEUS who came away with first prize at the time. And yes everyone but Ratledge in this lineup played for NUCLEUS at some point.

The highlight for me is the almost 17 minute version of Jenkins "Hazard Profile". Just a classic tune where Holdsworth shows off his chops beginning just before 3 minutes and he does light it up. I like the fuzz after 10 minutes then the horn after 12 minutes as the rhythm section turns more intense. "The Floating World" has this mood that draws me right in. The atmosphere and keys especially. Some vocal melodies from Allan then the bass comes to the fore. "Ealing Comedy" has some massive fuzz in it, very growly and powerful stuff. "Bundles" is one of my highlights, especially the guitar and drums. "Land Of The Bag Snake" has Holdsworth just ripping it up.

"Joint" sounds like electronics and drums mostly, quite avant sounding like smoking a joint I suppose(not even close). "The Man who Waved At Trains" like "The Floating World" is simply an uplifting and laid back tune with keys and drums leading this time. The bass and horn that follows adds a lot. Trippy stuff(like smoking a joint). It will be reprised later on(the song). "Peff" is intense and horn led. "LBO" is all about Marshall and his drum set. "Riff II" is a pretty heavy tune man as Marshall continues to impress. "Lefty(Collective Improvisation)" is experimental with drums leading early as the horn comes in. It settles late. "Penny Hitch(Coda)" has a good groove to it as the horn plays over top. The guitar joins in before 2 minutes. It settles 4 minutes in as light drums, bass and keys lead the way to the end.

Another fine live recording and these guys have a lot of those.


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 Recycled by NEKTAR album cover Studio Album, 1975
3.75 | 257 ratings

Nektar Psychedelic/Space Rock

Review by BigDaddyAEL1964

4 stars A really great album, the best Nektar album in my humble opinion.

A true concept, continuous, with wonderful cohesion that could easily be arranged in large musical suites except separate songs of common length. The melodies are truly inspired, loaning from the Jethro Tull aesthetics here and there, as well as from the Pink Floyd golden years. The musicality of this work is unmatched by any other Nektar album.

If there were half stars, this would be a solid 4,5/5, but I can't give it a 5/5 as I save this only for very rare, special occasions of musical greatness.

I strongly suggest that you listen to the Geoff Emeck Mix from the 2004 Remastered + Expanded version of this album, as it's by far better than the original.


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 Second Split by AMOEBA SPLIT album cover Studio Album, 2016
4.03 | 18 ratings

Second Split
Amoeba Split Canterbury Scene

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

4 stars A greatly anticipated second album from Spanish instrumental Canterbury Style jazz artists whose 2010 debut album, Dance of the Goodbyes, caused quite a stir in this old heart. The music here on Second Split is definitely on the jazzier side of things--much like Dave NEWHOUSE's MANNA/MIRAGE project from late in 2015. At times I'm hearing riffs from the DAVE BRUBECK/PAUL DESMOND age ("Sundial Tick" 4:48] [9/10]) and others more of a jazz- rock mode in the vein of CHICAGO or BLOOD, SWEAT & TEARS--especially in the arrangements for the horn section. And then there are the uses of odd/funny-sounding instrumental effects and/or shifts within the music. This is truly a entertaining and mercurial album--as is each song--taking twists and turns that the listener couldn't possibly foresee--yet none are wasted or superfulous, all serve to explore new ideas, new rhythms and combinations of sound and harmony.

1. "Clockwise" (9:03) three songs in one--all three excellent and enjoyable. (9/10)

2. "Sundial Tick" (4:48) opens with a melody line as if from a classic 1950s or 60s Broadway musical (Porgy and Bess' "Summertime" comes to mind before the "Take Five"-like tempo and style take over). Three different melodic themes seem to rotate through the song with different harmonic structures explored by the big band each time. (what is that synth sound at the three minute mark?) Truly an exceptional and intricate though fun song. (9/10) 3. "The Book Of Days" (2:25) opens with chamber string quintet before what sounds like two vibraphones join in. How cool! The double bass and violin morph into more café jazz sound as the vibes continue and, eventually, take over. How clever! (9/10)

4. "Those Fading Hours" (8:34) opens with a dirty electric piano creating some chords and arpeggios before strings engage to add intermittent and constant accompaniment--violin becoming the first main melody maker (alternating with the flute). Has a very MAHAVISHNU ORCHESTRA feel with a lot of pent up, potential energy feeling ready to explode on us. Incidental "noises" from the organ and other keys only adds to that feeling that at any minute things are going to break loose. The synth solo that begins at 3:30 seems to open this door--and then a fuzzy electric guitar-sounding keyboard takes over and seems to unleash a little of the spirit of the Mahavishnu himself. Despite the loosening up of the belt for the rest of the band, the ensuing horn play seems to keep things in check--but no! the instrumentalists are suddenly all trying to solo at the same time! But what happens! The band shuts down at 6:45 leaving space . . . out of which emerges an acoustic guitar and moog synth making animal (or insect) mating calls as the infant children laugh their end-of-the day laughs. What a marvelously odd song! I love it! (10/10)

5. "Backwards All The Time" (8:22) opens as the most straightforward jazz song yet, but then at the 0:45 mark, it morphs into a classic 1970s jazz rock fusion confabulation--a cross between JEFF BECK's "Freeway Jam," DEODATO's "Super Strut," ALAN PARSONS PROJECT's "I Robot," and CHICAGO's "I'm a Man"!!! Weird and wonderful! The dual alien synth and piano soli in the fifth minute are just too weird for me. Then they're back to jazz with a trumpeter in the lead. (There's that "Summertime" theme again!) Then, at 6:20, the hammond takes over and brings it back into jazz rock territory. Such a chameleonic song! Not sure if it all works but it is brave and adventurous! I think it suffers a bit from lack of a coherent, consistent flow--too many stories being told here. (8/10)

6. "About Life, Memories And Yesteryears" (8:12) opens quite sedately, as compared to all of the previous songs, with long sustained melody solos coming from keyboard 'flute' and 'saxes.' REally horns eventually join in as a bouncy, churchy hammond organ plays in the back right channel. Chunky keyboard fuzz bass takes over as electric piano and drums take front and center at the 4-minute mark. Horn section is soon added. Perhaps the weakest song on the album if only for it's lack of catchy melody. I mean, it's not till the 6:40 mark that the first likable melodic hook is presented, before that it's all about (I think) displaying all of the things the keyboards can do. (7/10)

A 4.5 star album; highly recommended as an excellent addition to any prog rock music collection.


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 Misophonia by ELECTRIC ORANGE album cover Studio Album, 2016
4.15 | 8 ratings

Electric Orange Krautrock

Review by BrufordFreak
Collaborator Jazz-Rock / Fusion / Canterbury Team

4 stars Coming in at over 72 minutes long, Misophonia represents another monster of an album from Aachen's Krautrock/Kosmische Musik stallwarts, ELECTRIC ORANGE.

1. "Organized Suffering" (18:09) opens with rolling bass line, guitars, drums and high pitch drone revving up, taking about forty seconds to get into full gear. Then, at 2:16, everything shuts down for some synths and three "explosion" distorted guitar/bass strums spread out over about twenty seconds. Synths then take over the lead above drums and occasional distorted bass notes. Heavily treated, animal-like vocalizations pop in and out of the soundscape toward the end of the fifth minute. Then things quiet down again around 5:20. Militaristic drums slowly build from there with bass, vocalizations and synths continuing their play. Psychedelic lead guitar play is slowly, sparsely added into the drum-dominant mix. Things quiet down again around the eight minute mark with guitar, quiet drums, and slowly penetrating mid-pitch synth note working its way into the soundscape, into our minds. At 9:30 there is a subtle shift as rolling bass, synth chords and drums return. At the end of the eleventh minute guitar and synths start to do some interesting if occasional things but at this point this is really a drummer's show. In the thirteenth minute the bass and synths begin some new activity--both attracting more of the listener's attention--but the, just as quickly, everything drops out (again) as if to reset. Modulated synth (or organ?) goes freaky on us while simple drum and bass lines play modest support. The organ really begins to dominate (finally!) and the bass and drums capitulate to create the song's first melodically based groove. The key/chord change at 16:20 almost blows it, but then they get back into it. This sounds almost like a 1960s DOORS or PINK FLOYD jam. Not a great song as it never seems to really get off the ground nor does it truly establish any kind of 'hook' to engage and maintain our interest. (7/10)

2. "Bottledrone" (11:48) starts out as slowly and uneventfully as the opening song--totally synth-dominated--but really kicks in delightfully by the halfway point and remains full and interesting to the end. (9/10)

3. "Demented" (7:51) opens with some spacey Blade Runner-like synth noises before an Indian-like rhythm section jumps into the field at the thirty second mark. Now, this is Kosmisches Musik! The drummer is in an awesome groove in the low end while his cymbal activity is all creative and playful. Slow space synth movement is gradual and constant while heavily treated guitars and basses flit in and out of the soundscape. The synths remind me exactly of Tony Banks' synth play in the second half of GENESIS's "The Waiting Room." I love it! By the sixth minute the bass has actually committed to a steady rhythm track while the guitar and cymbals continue their free form contributions. The instrumentalists slowly recede to allow for a quiet end to the song. (8/10)

4. "Misophonia I" (8:58) opens with deep synth notes and low end bass play with a kind of metronomic, Native American-like low end drum beat. For the first three minutes I can definitely picture native American tribal dancers around the campfire--maybe readying themselves for war. The disturbing and discordant shift during and throughout the fourth minute leads to the establishment of a kind of groovy Buddha Lounge song at the four minute mark. Bass, drums and guitar riffs are all on fixed groove mode while the bouncy synth sounds like he's performing at an Ibiza all-night rave club. Horn-like sounds are layered and echoed during seventh minute to nice effect. This turns out to be the song's last real surprise or shift as things begin to slowly fade over the course of the next two minutes. Interesting song. I'm not sure of its intentions or reasons--nor am I certain if it really works. It is, however, unusual. (8/10)

5. "Shattered" (4:40) opens like a jazz song with some synths, bass, drums and wah-effected guitar riffing his chords over a cute hypnotic groove. The synth and drum play don't quite fit in, but this could almost fit in with some of the 1970s Black Exploitation film scores. The guitar and synth play feel at odds--as if they're in different universes--or, at least, different sound studios. Not a song that I care to hear again. (6/10)

6. "Misophonia II" (1:19) is a brief interlude which sounds as if it could almost be a classical piece that has been heavily, heavily treated and distorted in the psychedelic fashion. (8/10)

7. "Opsis" (5:25) has more of the feel and sound palette of the music from EO's 2014 masterpiece, Volume 10. The zither and horn sounds and calmer, more steady rock rhythm tracks are so nice to hear again! Beautiful if subtle melody! (9/10)

8. "Misophonia III" (17:36) I keep reading about the power and centrality of this song to this album and I have to say, I agree. It is one monster of a song, with an awesomely powerful opening from the keyboard master, Dirk Jan Müller. The development is slow but seemingly methodical, well-planned, and the keyboard drenched soundscape is joyfully drenched with Müller's strokes and washes. It's funny to enjoy so much the minimalist inputs from the band's other three members and just have the keys going solo over the course of the first six minutes. Once the rest of the band join in and establish their trepidous support, Dirk Jan continues to play around, but gradually his keys become more integrated into the weave, even seem to fade to background a bit--though there are the occasional really cool low end chord staccato hits. In the tenth minute, when things feel like they're starting to stagnate, Dirk Jan turns up the gas, puts on the horn synth, thrashes out a few heavy handed chords. Man! is he giving a great Berlin School keyboard exhibition! Volume levels all around amp up at the 12-minute mark, but then back off, leaving a little "Lucky Man" fade into the 13-minute mark. The bass, guitar and constant drum pattern keep it going, though, while DJ Müller again goes on his creative binging. More this, EO! I love it! (10/10)

While I enjoy all of the electronic space experimentation going on beneath the "lead" instruments by keyboard specialist Dirk Jan Müller, I find this album less cohesive and engaging than either Volume 10 or Morbus. I often find myself feeling as if the oceans of synth heaven going on beneath and the instrumental action above (or below) are disconnected--like sea and air--sea and mud.

Still, this is a nice 3.5 to four star album which I'm rating up for the monster epic "Misophonia III". A nice addition to any prog rock music collection.


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  1. Close To The Edge
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    Jethro Tull
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    Pink Floyd
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    King Crimson
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    Banco Del Mutuo Soccorso
  24. Storia Di Un Minuto
    Premiata Forneria Marconi (PFM)
  25. In A Glass House
    Gentle Giant
  26. A Farewell To Kings
  27. Si On Avait Besoin D'Une Cinquième Saison
  28. Aqualung
    Jethro Tull
  29. Kind Of Blue
    Miles Davis
  30. Birds Of Fire
    Mahavishnu Orchestra
  31. Hot Rats
    Frank Zappa
  32. Meddle
    Pink Floyd
  33. The Raven That Refused To Sing (And Other Stories)
    Steven Wilson
  34. Crime Of The Century
  35. Ommadawn
    Mike Oldfield
  36. Still Life
  37. H To He, Who Am The Only One
    Van Der Graaf Generator
  38. Depois Do Fim
  39. The Silent Corner And The Empty Stage
    Peter Hammill
  40. Images And Words
    Dream Theater
  41. Permanent Waves
  42. The Grand Wazoo
    Frank Zappa
  43. Mekanïk Destruktïw Kommandöh
  44. The Yes Album
  45. The Lamb Lies Down On Broadway
  46. The Mothers Of Invention: One Size Fits All
    Frank Zappa
  47. Metropolis Part 2: Scenes From A Memory
    Dream Theater
  48. In A Silent Way
    Miles Davis
  49. Scheherazade And Other Stories
  50. The Snow Goose
  51. The Power And The Glory
    Gentle Giant
  52. Still Life
    Van Der Graaf Generator
  53. Octopus
    Gentle Giant
  54. Hand. Cannot. Erase.
    Steven Wilson
  55. Free Hand
    Gentle Giant
  56. A Trick Of The Tail
  57. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  58. Rock Bottom
    Robert Wyatt
  59. Zarathustra
    Museo Rosenbach
  60. In The Land Of Grey And Pink
  61. Second Life Syndrome
  62. The Road Of Bones
  63. Blackwater Park
  64. Arbeit Macht Frei
  65. In Absentia
    Porcupine Tree
  66. Ghost Reveries
  67. Emerson Lake & Palmer
    Emerson Lake & Palmer
  68. Fear Of A Blank Planet
    Porcupine Tree
  69. Viljans Öga
  70. Spectrum
    Billy Cobham
  71. K.A
  72. Acquiring The Taste
    Gentle Giant
  73. Hatfield And The North
    Hatfield And The North
  74. Space Shanty
  75. Misplaced Childhood
  76. If I Could Do It All Over Again, I'd Do It All Over You
  77. The Inner Mounting Flame
    Mahavishnu Orchestra
  78. Hamburger Concerto
  79. Anabelas
  80. Radio Gnome Invisible Vol. 3 - You
  81. Script For A Jester's Tear
  82. Rubycon
    Tangerine Dream
  83. Pale Communion
  84. The Perfect Element Part 1
    Pain Of Salvation
  85. L'Isola Di Niente
    Premiata Forneria Marconi (PFM)
  86. Lateralus
  87. Elegant Gypsy
    Al Di Meola
  88. Doomsday Afternoon
  89. Remedy Lane
    Pain Of Salvation
  90. Voyage Of The Acolyte
    Steve Hackett
  91. Romantic Warrior
    Return To Forever
  92. Hiromi's Sonicbloom: Time Control
    Hiromi Uehara
  93. Uzed
    Univers Zero
  94. Felona E Sorona
    Le Orme
  95. Caravanserai
  96. Grace For Drowning
    Steven Wilson
  97. Part The Second
    Maudlin Of The Well
  98. Bitches Brew
    Miles Davis
  99. Memento Z Banalnym Tryptykiem
  100. Leftoverture

* Weighted Ratings (aka WR), used for ordering, is cached and re-calculated every 15 minutes.


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It's Gonna Fall


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The Dream Dimensions


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Watching Behind the Wall of Your Dreams



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