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 Pale Communion by OPETH album cover Studio Album, 2014
4.18 | 906 ratings

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Pale Communion
Opeth Tech/Extreme Prog Metal

Review by Warthur
Prog Reviewer

2 stars It isn't as though this wasn't expected. Opeth had been steadily drifting away from their death metal roots for a good long while by this point, with 2003's Damnation avoiding it entirely, so it's hardly an enormous surprise that Pale Communion finds the residual metal thoroughly flushed out of Opeth's sound. In its place stands a hard-rocking tribute to the heavy psych roots of progressive music, which I'm sure is a subject that the band and Steven Wilson collectively have a whole bunch of insight into - and indeed, their take on the style is an effective update of it.

Somehow, however, the proceedings feel hollow and soulless. It's not that I'm crying for the loss of their old sound - that wasn't my cup of tea either. It's just that it feels like this album feels like it's been carefully calculated to tick all the boxes on a heavy psych-prog checklist, rather than being an artistic statement that this style of music happened to be the right medium for. It's all very clinical, controlled... and suffocated. Sorry.

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 Under The Sun by NUCLEUS album cover Studio Album, 1974
3.84 | 21 ratings

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Under The Sun
Nucleus Jazz Rock/Fusion

Review by Warthur
Prog Reviewer

3 stars This 1974 release from Ian Carr and his collaborators proves that as far as Nucleus goes, there truly is nothing new under the sun. It's not that this is a bad album - on the contrary, it's a pretty decent jazz-rock workout. It's just that it isn't really doing anything we haven't already heard the group do with a bit more verve and passion on the group's earlier albums. Where a mere four to five years earlier Nucleus had been ahead of the curve when it comes to this sort of material, here they're sat solidly in the middle of the road, with the end result that you probably don't want to go out of your way to obtain this unless you really can't get enough of the band's sound.

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 Incantations by OLDFIELD, MIKE album cover Studio Album, 1978
3.92 | 370 ratings

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Incantations
Mike Oldfield Crossover Prog

Review by Warthur
Prog Reviewer

4 stars Structurally speaking, this one is Mike Oldfield's Tales From Topographic Oceans, being as it is a double album of just four side-long pieces. And like Tales From Topographic Oceans, it's a divisive one, with people who had been won over by his single album-length compositions put off just as others embraced it.

To be honest, I think the running time is the major issue here - any album clocking in over 70 minutes is going to find keeping the listener's attention a challenge at times, and the material here is repetitive enough that I don't often find it as rewarding to listen to the whole thing in one sitting compared to Tubular Bells or Ommadawn. However, taken as individual tracks, the various parts of this whole are as good as ever. My advice: take it slowly, chew it over carefully, and give yourself a chance to digest it properly, and you'll get the best out of this one.

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 Captain Beyond by CAPTAIN BEYOND album cover Studio Album, 1972
4.00 | 209 ratings

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Captain Beyond
Captain Beyond Heavy Prog

Review by friso
Prog Reviewer

5 stars Captain Beyond - st (1972)

I was wondering what I myself had written about this stand-out record and I found that I never actually wrote a review about the Captain Beyond debut. A shame, because in the beginning it was one of my great inspirations for my own band (along with May Blitz, Budgie and others).

For legal reasons the songwriting of the album was contributed to singer Rod Evens (ex-Deep Purple) and the excellent drummer Bobby Caldwell (ex-Johny Winter). Guitar player Larry "Rhino" Reinhardt (ex-Iron Butterfly) who obviously wrote a lot of riffs here wasn't mentioned as co-writer because of legal issues. Lee Dorman (also ex-Iron Butterfly) plays bass.

This is actually one of the few progressive rock records that actually rocks! It has power, ingenuity, the wild vibe and yet has that obscure collectible feel to it. Furthermore, the hard rock elements are firmly rooted in American rock - not British at all. It is actually quite strange why this record didn't receive more appraisal at its time. Perhaps the record was to intelligent for rock listeners and too energetic/punchy for progressive rock listeners. Perhaps because of the overly progressive songtitels and not so catchy lyrics. I would have to press myself to remember the lyrics of one single refrain now I think of it. It matters not. The endless stream of original riffs and rhythms, sometimes in odd signatures, without loosing the wild Hendrix feel is a real winner here. Furthermore one can find musical elements that clearly resemble stoner rock that would appear in the nineties. Together with some eclectic prog (metal King Crimson comes to mind) and some space-rock moments this is a complete eclectic work of art that fails to fit in any category.

My only complaint being the production - which lacks a clear low end (bass) - this is an almost perfect record. Exciting and innovative. Five stars. Must have if you like hard rock, heavy prog, heavy psych and seventies progressive gems in general.

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 Captain Beyond by CAPTAIN BEYOND album cover Studio Album, 1972
4.00 | 209 ratings

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Captain Beyond
Captain Beyond Heavy Prog

Review by Modrigue
Prog Reviewer

5 stars Stoning beyond our galaxy

Consider the musical universe of the 70's. If HAWKWIND was the stoner captain in our Milky Way, CAPTAIN BEYOND was another one, however clearly navigating through a different galaxy. Where do those space corsairs comes from? This obscure band is in fact a supergroup composed of former members of well-known prestigious formations: ex-DEEP PURPLE's vocalist Rod Evans, ex-IRON BUTTERFLY's guitarist Larry Reinhardt and bassist Lee Dorman and ex-Johnny WINTER's drummer Bobby Caldwell. So is this another hard-blues formation? A pale copy of the aforementioned bands? Not at all.

CAPTAIN BEYOND's eponymous debut really is an unique mixture of hard/heavy riffs with space/psychedelic/acid rock elements. Is it progressive? Yes, in a sense that this album is more a patchwork than a collection of songs. The music is unpredictable, evolving, moving, as if the CAPTAIN was constantly re-adapting the trajectory of his ship through the unexpected turbulences of the cosmic void. Furthermore, the record is catchy, accessible and avoids being repetitive or messy. The tracks are full of unusual changes and breaks, years before RUSH's proto-prog-metal. This is no touristic stationary cruising, prepare to be surprised. There are signs that do not lie: the original cover art was in 3D. Fasten your seatbelts, an epic journey through undiscovered stellar systems awaits you...

Rather than 13 tracks, the disc should been rather seen as composed of 3 mini-epics plus 2 songs. The first 3 tracks form the first mini-epic, lasting 9 minutes. The take-off is immediate with the heavy "Dancing Madly Backwards", its acceleration and solo will send you directly beyond our galaxy through a wormhole to an unknown destination. Mindblowing! The floating syncoped "Armworth" symbolizes the arrival, introducing the calm and ambient "Myopic Void". You can now rest and admire the stars. Don't relax too much though, the ship re-accelerates to speed of light for a boosted-up reprise of "Armworth"'s theme. The finale is a genuine sonic deflagration. Simply great! One of the best space heavy rocks from the 70's! The aggressive "Mesmerization Eclipse" is a very nice hard rock with many rhythm changes, while "Raging River Of Fear" sounds like DEEP PURPLE on serious acids. It even includes a small jazz-rock interlude.

The next 3 tracks are the second 9 minutes long mini-epic. Don't rely on the acoustic introduction "Thousand Days Of Yesterdays (Intro)", "Frozen Over" is a evolving black hole that gets as thrilling as RUSH's "Cygnus X-1", years ahead! The surprising reprise is terrific! "Thousand Days Of Yesterdays (Time since come and gone)" concludes on a lighter SANTANA-like tone. The last 5 tracks from the third 10 minutes suite. Starting as a cool hard rock, "I Can't Feel Nothin' (Part 1)" turns out to be pretty ferocious, until "As The Moon Speaks (To The Waves Of The Sea)" arrives as a welcomed pause when you can peacefully admire star systems at the window... However, the journey is not over yet. The (very) short raging "Astral Lady" unveils a beautiful solo on "As The Moon Speaks (Return)" and prepares the reprise "I Can't Feel Nothin' (Part 2)". As you may now expect, the finale is once again worthy of its predecessors. Blimey!

What a pretty impressive journey beyond the stars! "Captain Beyond" is a little spatial treasure containing lots of gems. The quality is constant and the interest maintained intact through the many unexpected changes and the surprise factor is always there, even after several listens. Gorgeous riffs, spacey moments, Rod Evans' rock'n'roll crooner accents and Bobby Caldwell's original rhythms bring the final touches making this album quite special.

CAPTAIN BEYOND's self-titled debut is typically what astrophysicists call a singularity: unique and uncategorizeable. A sonic meteorite or a comet only visible once per century, carrying the listener among several musical stellar systems. The band already exposes innovative ideas and their own identity here. An essential trip for 70's hard/heavy/stoner/space rock lovers! Don't miss the spaceship!

The singularity notion also has its drawbacks: the next albums will unfortunately not be as inspired and breathtaking, the musicians themselves looking like they've lost the coordinates of this extraterrestrial music...

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 In Search Of Ancient Gods by ABSOLUTE ELSEWHERE album cover Studio Album, 1976
2.93 | 60 ratings

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In Search Of Ancient Gods
Absolute Elsewhere Eclectic Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

5 stars Keyboardist and flautist Paul Fishman's 1976 work `In Search of Ancient Gods', under the project name Absolute Elsewhere, is something of a minor classic of both spacey and symphonic instrumental progressive rock of the vintage era. Based on the pseudo-science/alternative history books inspired by the theories of author Erik von Daniken, `...Ancient Gods' enjoys something of a raised profile due to the drumming contributions of King Crimson/Yes member Bill Bruford, yet it still remains fairly obscure and something of a kept secret! Swamped in dreamy and lavish keyboards, the album houses everything from extravagant symphonic multi-part suites, drifting space-music electronics, shorter Rick Wakeman-esque fanfare interludes and experimental psychedelic fragments.

There's spacey whirring synths and glorious dreamy Mellotron-glossed themes aplenty throughout nine-minute opener `Earthbound', laced with a chilled-out Seventies coolness (some of it sounding like a template that French band Air would employ on their classic full-length debut `Moon Safari' in 1998, though it's likely a coincidence) that even calls to mind the fuzzy dreaminess of Bo Hansson's `Attic Thoughts', some laid-back drumming and drifting flute giving the piece a soft pattering of jazzy flavours, and a final run of electric guitar fire bringing a smouldering groove. Trickling subtle sequencer beats pan left and right throughout `Moon City's bleeding deep-space drones, and the near twelve-minute five-part suite `Miracle of the Gods' darts through everything from nightmarish electronic twitches and reprising soaring Mellotron/Moog themes in the manner of Pink Floyd, Novalis, Camel and Pulsar, delicately moving towards ethereal ambient paths and pristine piano ruminations in crucial little diversions.

The second side opens with two shorter interludes, `The Gold of the Gods' and `Tokleta', the first a whimsical and slightly kitsch synth fanfare, the latter a mysterious and softly melancholic Moog reflection. Two ten minute workouts close the album, first `Chariots of the Gods' opens as a subdued and melancholic Rick Wright-like piano reflection before revealing relaxed jazz/funk grooves, and `Return to the Stars' is a slowly revealing Tangerine Dream-like expansive distortion-laced ebbing electronic drone that is completely seductive, enveloping and deeply immersive.

Although there's some conflicting little passages and a few questionable production choices here and there (the pretend `stuck vinyl' fade-out halfway through `Chariots of the Gods' is a bit of a cop-out, and the little pieces that open the second side are somewhat out-of-place distractions!), `In Search of Ancient Gods' is mostly full of exquisite and grand instrumental symphonic music crossed with experimental and atmospheric electronics, with several truly jaw-dropping moments for lovers of lengthier keyboard and Mellotron-drenched grandiosity. This successful fusion of styles makes for an album that is so close to being an absolutely classic symphonic/chill-out/electronic crossover work, one well deserving of renewed attention for its own merits far beyond the contribution of a legendary drummer alone.

Four and a half stars.

(Thanks for Bruce Jenkins of the superb music blog Vinyl Connection for hooking me up with an LP copy!)

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 The Seer by SWANS album cover Studio Album, 2012
4.00 | 134 ratings

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The Seer
Swans Post Rock/Math rock

Review by Roane

1 stars OK that sub-genre probably doesn't suit with my feeling in terms of music but, for my part, can we really talk about music here? I just have listened various sounds in an experimental approach. If the musicians are themselves comfortable and happy with their performance, no issue for me, I respect their work. But music is done to be shared and for this, it is more fundamental listeners to be comfortable and happy with the proposal... no melodies here, no feeling and no inspiration and, especially, where is the progressive in such a performance? In my opinion, even not for fans, only for completionists: 0.5 stars

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 Contrapasso by SEVEN IMPALE album cover Studio Album, 2016
4.01 | 52 ratings

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Contrapasso
Seven Impale Eclectic Prog

Review by Tapfret
Prog Reviewer

5 stars It's not often that I find myself doing such an about-face on an album. The amount of crow that was eaten during the second listen of Seven Impale's 2016 release, Contropasso, was staggering. I found myself fighting considerable bias toward the retro sound of their 2014 release, City of the Sun. I suppose as a self-proclaimed avid progressive rock listener, such bias should not be rote. The initial listen to the album found me considerably disappointed at the comparatively modern sound. But as further listening occurred, the textures and dynamic composition of the album shine through. So much so that it has become apparent that this is the album of the year for 2016, in this reviewer's humble opinion.

Vocalist / guitarist , Stian Økland has a voice that, while being very enjoyable and dynamic in City of the Sun, became quite a bit more eclectic in this release. The style could be best described on the previous LP as having an almost late era Jon Anderson quality to it. And while that sound was present at times in Contrapasso, it was also contrasted by periods of very goth, almost Peter Murphy style deep vampiric tones. Almost to the point where I thought a guest appearance was being made by fellow Norwegian Czral of Virus/Ved Buens Ende. Additional sections of soaring glam metal style vocals are also present. It is a very deeply rounded conglomeration of vocal styles that deeply textures this release. its a facet of progressive music that can often lead to the downfall of a great album. In this case augmenting it substantially.
Adding to the, dare I overuse the word, eclecticism, are the arrangements themselves. While the aforementioned overall feel is less retro than City of the Sun, the aspects of arrangement are still very classically Progressive. The instrumentations tend to be quite a bit heavier than the previous release, to the point that one could almost understand the occasional "metal" label that's put on the album by various music media outlets. But the amount of contrast in both volume dynamics and tempo are undeniably Prog. Even in the darkly oppressive Languor, and almost electronica sound of Phoenix. And then there's the saxophone, which was almost trademark to the sound of Seven Impale on City of the Sun. Here we find it not so much subdued, but blended and far more complimentary than in the previous release.

As time goes by I find myself becoming more and more of a Norweig-aphile. But even in a country that is standing out as a flagship of fresh Progressive rock in the 21st century, Seven Impale have shone through a rather thick field of creativity. Contrapasso is one of, if not the quality release of 2016 and is easily recommended for any Progressive rock library. 5 bright stars.

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 Totum by ABSTRACT TRUTH album cover Studio Album, 1970
3.32 | 25 ratings

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Totum
Abstract Truth Indo-Prog/Raga Rock

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars Offering a rare glimpse of the South African psychedelic scene as the odometer was turning from the 60s to the 70s, ABSTRACT TRUTH released their first of two albums with a healthy dose of covers in a psychedelic folk mood. The band emerged in the port city of Durban but had somehow caught drift of the psych and folk scenes drifting on the winds. TOTEM was primarily an expression of covers but a competent take on the world's scene diffused into their slowcore and contemplative folky take on things. While this debut is very much a nice little music sampler of everything jazz, blues, folk and mellow rock of the era, there's still an idiosyncratic approach to the tracks on board as the band makes them their own and the album actually feels like a cohesive whole of originals if only we didn't know better.

While the main influences seem to be everything from Donovan and Fairport Convention to Traffic, there is also a heavy leaning toward the escapist drugged out sounds of Pink Floyd's mellowest moments as well as a surprising trippy excursions into the jazz world as heard on the Dave Brubeck's "Take Five" segment of the tail end of a ten minute twofer track. The main instruments are the guitar, bass and tribal percussion with wind tradeoffs from both the flute and sax. The atmosphere is light and breezy as the mid-tempo tracks bring the future offerings of Comus to mind without the creepy subject matter nor the twisted progressive behemoth compositions.

While the tracks basically constitute a cover album that include jazz standards such as "Summertime" and "Comin' Home Baby" along with 60s psych pop takes on Donovan tracks suchs as "Jersey Thursday" and "Fat Angel," it does contain one original tune "Total Totum (Acid Raga)" which churns out the stoned hippie effect complete with George Harrison inspired sitar improvisations which bring the guru seeking dope-inspired 60s to mind where every musician suddenly found "god" and needed to express their oneness with the divine in musical prose that proffered salvation through a jam session that suggested the need for stoned out participations to be the ticket to ride. While not a necessary prerequisite to imbibe the bounties of the intoxicating universe to enjoy this, it certainly helps to understand where the band was coming from in its approach to tackling their musical visions.

While TOTEM is a perfectly enjoyable listen it does seem to ruminate a bit too much over the efforts of others and not really effective in making a musical statement of its own. Even with the final "Acid Raga" track which finishes the effort as the band's sole original statement it doesn't quite hit the mark in proffering the promised pastures of originality that we could hope to hear in the fertile crossroads of the year 1970. While everything is competently performed with hints of English folk, Krautish psychedelic overtones and overt tributes to past masters, this one just seems to fall short in terms of consistency but nothing on here is unpleasant in the least. ABSTRACT TRUTH would find much more fertile pastures with their second album of the same year "Silver Trees."

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 Pike 245 - Space Viking by BUCKETHEAD album cover Studio Album, 2017
1.00 | 1 ratings

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Pike 245 - Space Viking
Buckethead Prog Related

Review by siLLy puPPy
Collaborator PSIKE Team

— First review of this album —
1 stars BUCKETHEAD (as Bucketheadland) / Pike 245 - Space Viking / 2nd release of 2017 / All instrumental / Contains 3 tracks / Clocks in at 30minutes 30seconds / everything played by Buck-buck-buckethead

'Space Viking (To Bernie Worrell, the greatest music maker of all) (21:29) swallows up 2 thirds of the PIKE's real estate and is one of the many ambient lullaby tracks. Ugh! My least favorite kind and at this time length i predict a serious snoozer-ama. It begins with a clean guitar melody and ambient backings. A bass is used sparingly and percussion is limited to cymbal action. As i suspected. This is nice mellow background music for surfing the web but totally boring otherwise. Nice production and would sound brilliant if he hadn't done this type of album a million times before but the problem is that it is repetitive and has no musical composition taking place. It is simply a loop of a simple riff that repeats to infinity. Really? How many times can BH repeat this same booooooooring type of track? Mellow is fine and dandy but what if Barry Manilow only wrote 'Mandy' and changed it around slightly for 100 times? In fact i'd rather listen to Manilow over this sterilized crap any day. The worst of the worst. Total sewage sludge on smear nursing home toilets. I'd rather watch paint dry than listen to this one more time

'Litten Well (3:20) picks up the speed and has a more percussion oriented groove with the clean guitar echoed more and sounds more akin to a folk rock track from Kansas or some other 70s prog folk entity. After the last dud any change is welcome of course but this pretty much takes the same timbres and tones and makes an interesting musical creation without wearing out its welcome. Perfect sounds, perfect composition and perfect time length for ideas presented. See BH? It's not the hard. Spare us of the long winded crap like track one and make decent albums where EVERY track is worthy of investing our limited life span for a listen

'Ever' (5:41) starts out sounding more rock oriented with echoey more distorted guitar and bass and drums. It picks up speed right away and then has a heavier drum and more distorted guitar but it stays in mid tempo range and reverts to slow. This type has been done to death as well since it has been featured on many a PIKE.

After a promising first PIKE of 2017, i'm immediately hit by a total dud. The second track is moderately interesting but nothing to warrant a special effort to hear this one. As far as i'm concerned this PIKE is total filler in a sea of releases that contain many traces of greatness. Is the point of these crap albums to create a contrast for a higher appreciation of the excellent ones? Hmmm'. maybe the chicken lover isn't so stupid but i'm not a believer that crap needs to fill the cracks between releases that are worthy of entering my ear canals. Overall i'm thoroughly bored by this rotting piece of excrement

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

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

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