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 Raised On Radio by JOURNEY album cover Studio Album, 1986
2.38 | 57 ratings

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Raised On Radio
Journey Prog Related

Review by Tarcisio Moura
Prog Reviewer

3 stars Two years after Frontiers came Raised On Radio. And by then, boy, the musical scene had changed a lot, with most AOR groups disbanding and/or losing ground quickly to British new wavers like Duran Duran and Culture Club or to heavy metal bands, from thrash to glam. ROR sounds a lot like the band trying hard to adapt to the new styles, with lots of synths and a very slick production. So much so that they found that they didn´t need a jazzy drummer like Steve Smith, who was dismissed during the recording sessions (although he was credit on 3 songs). Bassist and founding member Ross Valory claims that, tired of ego clashes within the group, decided to leave before the sessions started. Both places were taken by session musicians.

So the band was reduced to the hardcore trio of Steve Perry, Neal Schon and Jonathan Cain, all prime songwriters of the band. Production duties were taken by Perry, who pretty much ran the show here. And it comes as no surprise when Raised On Radio sounds more like Perry´s solo project than actually a Journey album. The savior factor was the fact that the songwriting department still retained much of their former magic: songs like Girl Can´t Helped It, I´ll be Alright Without You and Be Good To Yourself are typical Journey stuff, full of great melodies, power and stunning performances of all involved. Suzanne, Once You Love Somebody and It Could Have Been You are nice, but quite different and maybe a little too close to the 80´s pop cliche. Still, none of the tracks are crap and the fact that Perry is singing better than ever do help matters a lot.

After several spins you get the feeling that Raised On Radio does not achieve that energetic and fresh approach Journey used to a few years before. It´s the first Journey album since Next that sounds a bit dated. As good as the songs are, the plastic synth sounds and the monochromatic drums on much of the tracks take away some of the former charm they once had in spades.

Rating: 3 stars. Good melodic album, but they have done better ones.

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 Absolutely Free by ZAPPA, FRANK album cover Studio Album, 1967
4.09 | 362 ratings

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Absolutely Free
Frank Zappa RIO/Avant-Prog

Review by DrömmarenAdrian

3 stars I am ready to continue my examination of Frank Zappa's work beacuse I won't believe he is overrated. He seems to have inspired so many musicians that he must have something important to show me too. He was born 1940 and on this, his second record "Absolutely Free" from 1967 was he 27 years old. It is a "Mothers of invention"-record but the big Zappa portrait indicates he's the main brain. On these 44 minutes Zappa plays guitar and sings, Ray Collins sings, Roy Estrada plays bass, Don Preston plays keyboards, Bunk Gardner plays saxophone, Jimmy Carl Black plays drums and Bill Mundi plays drums.

1967 was before prog but in the midst of the psychedelic era. This music though isn't psychedelic but it is even more crazy. For me the confusion is not very pleasant. In one way it feels like the album is very artistic and I guess there are deep thoughts about all this stuff but for me it just feels whimpsy and obscene. I feel that it is very interesting music and there are a lot of moments when I hear the music is true professional. The best track for me is "Invocation and Ritual Dance of the Young Pumpkin"(8/10) which starts with a beautiful Rimskij-Korsakov-theme. I also like the professionality in "Status back baby"(8/10). Zappa had a funny voice and his playful texts are clear in "The duke of prunes"(7/10) for example or"Call any vegetables"(7/10) and "Uncle Bernie's Farm"(7/10). Though do many of the greatest thoughts here drown in the loud mess of confusion.

When you think about that this was a very long time ago you understand Frank Zappa and his mothers were doing something really new. It's fair to call it revolutionary. I would though like more music and less chatting. Some tracks are just annoying. This is interesting but not in my taste, three stars!

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 Patience of Hope by ROZ VITALIS album cover Studio Album, 2012
4.00 | 17 ratings

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Patience of Hope
Roz Vitalis RIO/Avant-Prog

Review by admireArt

4 stars Yeah! Hope.

Under the abstract and diverse RiO/AV sub tagging or "Karma", this work could easily be forgotten by the lack of exposure that usually non USA musicians get here in this category. In all, it limits possible prog audiences that will surely get also their kicks with this kind of ECLECTIC, CROSSOVER, Avant Garde prog and with hope the Symphonic prog followers who like the darker and not the always and never ending sweet flavors in their plates.

"Patience of Hope" Roz Vitalis 2012 project is so uniquely diverse but always focused, that each passage no matter how small or important, beholds an unobtrusive creativity that everything blends into place. Weaving different rooting but never ceasing to sound original, the constructions or songs, contain in themselves different moods, never setting on one in particular, which more than being the kind of RiO planned disturbing interruptions, Roz Vitalis bets on the movemernt of styles within each single song.

Perfectly song written designed, all sounds flow in a constant an ever changing combination of styles' atmospheres. The intrumentation ranges from clavecin like baroque figures to the poignant use of the electrics, both bass and guitar. From classic piano moments to frantic but friendly Jazz up-beat and off beat environments. From dark symphonic passages to strongly percussive lands, that in all truth, I can bet, any King Crimson early fan will feel at home again with, but in an alternate reality one of course! (Please do not mistake reference for imitation! Also no vocalist on this effort)

So, not all that not glitters is not worthwhile, this extraordinary and well rated, yet underrated album (16 ratings, come on!) is sheer proof of this!

****4.5 "Closer to 5 than 4, essential goodie) PA stars.

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 Skye by MONARCH TRAIL album cover Studio Album, 2014
3.95 | 60 ratings

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Skye
Monarch Trail Neo-Prog

Review by daisy1

5 stars I first heard of this album on the ClassicRock Prog sampler.Luminescence was the track,and I just had to get the rest.The band remind me partly of Flower Kings in their more symphonic outings,and also Greenslade ,Triumvirat and ELP.So you've guessed pretty well keyboard led by Canadian maestro Ken Baird.There are vocals on 3 of the 4 tracks and also guitars,drums support well.Track one,Luminescence is really 2 halves- keyboard driven first half then a beautiful slow symphonic second half where the keys just build up and build up to a triumphant climax.track 2 is lighter and more vocal and leads into a brilliant instrumental track3 which bounces along with all synths blazing,then goes more symphonic in a Greenslade type of way,before exploding again- brilliant! The epic 4th track is one of the best longer tracks you will hear.The back synth drop reminds me a bit of ELP Trilogy track- but 20 minutes zooms along with no holds barred.

I think this album could be my favourite of the year with IQ Road of Bones. It is SO good.All keyboard driven fans should lap this up- especially if you like Glass Hammer,Flower Kings,Greenslade,Tiumvirat,ELP.Ken's playing is some of the best prog keys I have ever heard.I will now have to buy his solo stuff.My only criticism is the album was over too quickly- so we need a bonus disc and some live playing. So excellent 10/10.

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 Congo by GENESIS album cover Singles/EPs/Fan Club/Promo, 1997
1.81 | 37 ratings

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Congo
Genesis Symphonic Prog

Review by Guillermo
Prog Reviewer

2 stars I was a bit surprised when in March 1996 I read in a newspaper Phil Collins`s announcement about he was leaving GENESIS then. I had doubts about the band carrying on without him...but Tony Banks and Mike Rutherford wanted to carry on as GENESIS. And they did it. Finally by mid 1997 I read in a Rock magazine an interview done with them and new lead singer Ray Wilson. So, it was until September 1997 when I finally saw their new album called "...calling all stations..." in the record shops of my city and I bought it. But before that, I thought that the new lead singer could have been very well Paul Carrack (of MIKE AND THE MECHANICS) or a lead singer of more or less the same age of Banks and Rutherford. But no...the new lead singer was Wilson, a lead singer who was born in 1968, at the time that GENESIS were recording their first album when they were teenagers...The differences in age and in looks between Banks and Rutherford with Wilson were very clear from their appearances in photos as a band.

The cover design of the "...calling all stations..." album was in fact very "dark" for my taste. I thought the same thing about most of the music of that album. I also thought that the change of lead singer was also a drastic move, with the new lead singer having a very different voice and style in comparison to Collins`s (in a similar way as in the case of MARILLION with new lead singer Steve Hogarth when he replaced Fish). Anyway, the band still retained some of the "old" musical style they had when Collins was in the band, but now they were more focused in the "dark" aspects of their music and of the lyrics, like they were trying to re-create the moods of previous "dark" songs like "Home by the Sea- Second Home by the Sea", "Mama", and others which I don`t like very much from their discography. But the band lacked a balance of moods in their music and lyrics, now lacking Collins`s humour and his more "light" musical tastes. So, most of the songs of the "...calling all stations..." sound in a very similar, "dark" way. Even some of the ballads are a bit sad in content. But I think that Wilson really was not very involved in the creation of the content of the album. In fact Banks and Rutherford have recorded most of the tracks when Wilson joined the band. So with the exception of a few songwriting collaborations between the three musicians, the new album was really more the creation of Banks and Rutherford than a real collaboration with Wilson. I think that he was recruited more as a lead singer than anything else.

With a song like "Congo" it seems now that the band wanted to update their music for the late nineties. A "dark" song with some good arrangements and some Pop Rock oriented lyrics, and also with a not very good promotional video clip for my taste (also "dark"), in fact it sounded to me very far from the "old" GENESIS with Collins in their most Pop Rock music oriented songs. I still think that this song was not the best choice from all the songs from their new album to be released as a single. I still thing that "If That `s What You Need", even if it is a ballad / love song, could have been a Hit Single if it was released as a single. That song sounds more related to the Collins`s Era in musical style. But maybe Banks and Rutherford wanted to distance the name of the band from that kind of songs.

"Papa He Said" and "Banjo Man", the B-sides of the "Congo" single, sound more Pop Rock oriented in musical style than "Congo", and even less produced and polished, mostly like the members of the band were thinking that both songs were not very good for their tastes, so both songs were relegated to be released as B-sides and nothing more. But both songs are good for my taste, and I think that both (with more added production work ) could have made their new album more musically varied and interesting, offering some less "dark" songs. These two songs and other songs from the same period which were released as B-sides of other singles are now more for the collectors and most die-hard fans of the band as they were ignored for their inclusion in their "Archive" Box Set series. I seems that their period with Wilson as lead singer, not being very happy and successful for the band, was ignored, like Banks and Rutherford were trying to forget about it. Wilson, of course, was not the main "guilty" person in the lack of success of their 1997 album and in their tours during 1997-98. Maybe Banks and Rutherford should have done more detailed previous market research studies (if even they did something like that, a thing that I think they never did) to learn more about the musical tastes of their old fans and of the new musical audiences of the late nineties. But it seems that they wanted to be more loyal to their own musical tastes and musical experiments than to anything else.

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 Clessidra by LOCUS AMOENUS album cover Studio Album, 2013
4.00 | 2 ratings

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Clessidra
Locus Amoenus Rock Progressivo Italiano

Review by andrea
Prog Reviewer

4 stars Locus Amoenus began life in 2010 in San Michele di Serino, a small town in the province of Avellino, in an area called Irpinia. The name of the band comes from a literary quote that refers to an ideal place where you can reflect about life and reality: an imaginary, beautiful spot and a real source of inspiration for the mind. After a hard work and a good live activity on the local scene, in 2013 the band self-released an excellent debut album, "Clessidra" (Hourglass), with a line up featuring Alessio Vito (vocals, guitar, flute), Raffaele Purgante (electric guitar), Antonio Di Filippo (sax), Alessandro Ragano (bass) and Mauro Cefalo (drums). The overall sound draws on many sources of inspiration ranging from classical music to jazz, from folk to metal, but the members of the band managed to add a good deal of original ideas, personality and freshness. The result is pretty good and even if on the album you can hear echoes from the seventies you can feel that this is not a clone act at all and, in my opinion, the music is really worth listening to from start to finish with an open mind.

The opener "Tra la mente e gli infiniti inverni dell'anima (Preludio)" (Between the mind and he infinite winters of the soul) sets the atmosphere of this work. It's a beautiful instrumental piece that starts at the sound of a bell and features many changes in mood and rhythm. The title is in some way related to the art cover by Davide Panarella that, according to an interview with the band, tries to capture the spirit of the whole album representing a glance through the soul's eye over an arid, cold reality.

Then comes the long, complex "Inverno" (Winter) that every now and again recalls bands such as Osanna, Van der Graaf Generator and Jethro Tull, with a good interaction between sax and flute. The music and lyrics depict an eye in the sky observing the bitter destiny of the earth: it looks at the earth's defeat from above while a tear wets its hermitage, sweeping away its malignity. Cold winds blow shaking the dry branches of a tree, then the tree drops its fruits and disquieting instrumental passages evoke a never ending winter. Clouds of smoke cover the sky and the light gets lost into the darkness while the tired eye keeps on looking at the gloomy landscape below, crying...

The following "Il suono di Lei" (Her sound) is another long, complex track. The mood is lighter, here the music and lyrics try to conjure up a mystical character, a goddess who can breath a new life into a bleak reality, waking up the senses with her singing. It's almost a parable about the cathartic power of music: there's no hope without the charming sounds coming out from some mysterious, enchanted woods... Only those sounds can break the chains of the daily grind!

"Lettera di un folle" (Letter from a madman) begins by the sound of a quill writing frantically on paper and a delicate acoustic guitar arpeggio, then the rhythm rises. There are many changes in rhythm and mood, some soft passages remind me of Banco del Mutuo Soccorso, some others are wilder and remind me of Area and Il Balletto di Bronzo. The music and lyrics depict a man halfway between lucidity and folly who's drawing some images taken from a blurred reality that Time is blotting out. The words are moving on the paper like leafs falling from a tree: tired, they get lost along the way, in an eternal quest for a Love that whips the heart...

At over six minutes in length, "Amleto" (Hamlet) is the shortest track on the whole album but it's not not an easy listening one. In fact, this is an experimental piece featuring a free jazzy approach and confused voices in the background declaiming some verses from Shakespeare's Hamlet. The atmosphere is dark, suspended between dream and nightmare...

Next comes the melancholic "Anima" (Soul), a bitter-sweet reflection about life and afterlife where for a moment your soul breaks through and your mind begins to fly across a crying sky, over dreams and illusions, over hopes and disappointments, towards a fairy land where there's no room for pain. The come back to reality is hard when the parallel world you were dreaming of suddenly clashes with the usual routine of a life where everything is normal and boring.

The dreamy "I segni del Mio tempo" (The signs of My time) closes the album with a touching reflection about the effects of consumerism. In a world where materialism and money rule without mercy there's no room for real beauty and feelings. Music dies and poetry fades away while freedom fails... Well, after a silent pause there's still time for a sudden, hidden burst of rage and indignation!

On the whole, I think that this is a very good album where the poetical lyrics perfectly fit the music drawing melancholic, beautiful wintry landscapes suspended between dream and reality. Anyway, have a try and judge by yourselves: you can listen in streaming to the complete album on bandcamp!

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 Angels and Demons by ALGABAS album cover Studio Album, 2013
3.93 | 5 ratings

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Angels and Demons
Algabas Heavy Prog

Review by felonafan

4 stars "Angels and Demons" is the debut album of the Russian band ALGABAS from Vladimir (which is the ancient Russian town). This is music composed in the tradition of Genesis, Marillion, and IQ, but played with "heavier elements". Good drums, active bass, beautiful keyboards (with frequent use of digital strings), guitars (both hard-rockish and Rothery-oriented) and - to some extent, crude and not sweet but charismatic - male vocals (in Russian) create enjoyable atmosphere for neo-progster. The best song is dark "Madness Formula" with dramatic accents and riffs but all other songs including one instrumental track can also be considered as interesting and appealing. Touch of traditional Russian folk music adds charm. More diverse sound, more various - in tempo and mood - songs - and more complicated approach to composition-making would make this music much more marvellous. Highly recommended for lovers of both melodic and driving prog rock (if they do not afraid Russian vocal which is radically different from Lake, Fish etc). This album can be ordered from Mals Records, famous Moscow prog label.

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 How Was the Future by MONTECHIARI PROJECT album cover Studio Album, 2009
3.14 | 9 ratings

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How Was the Future
Montechiari Project Crossover Prog

Review by b_olariu
Prog Reviewer

3 stars 3.5 stars for sure

Montechiari Project is a band from Brazil taken the name from the keybordist Raphael Montechiari who formed this band in 2007 and releasing so far a single album in 2009 named How was the future?

Well, I was very pleasent surprised about this unknown album, I mean all pieces stands as good towards great, really inspired album. Raphael keyboards are really great and in combination with Drummond guitars, the result is quite great. Pieces as Fake Song, The true story of Alice or Mirrors are great, like all pieces. This type of cross over prog album I like to hear all the time. Nice vocal parts that is fiting in the music well. The music is varied and has plenty of memorable parts. Totaly unknown band that I think needs a wider recognition.

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 Fantasizer! by WATSON, DEAN album cover Studio Album, 2014
4.01 | 17 ratings

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Fantasizer!
Dean Watson Jazz Rock/Fusion

Review by b_olariu
Prog Reviewer

3 stars 3.5 really

Third album named Fantasizer from 2014 of this excellent multi instrumentalist, is another worthy release in jazz fusion prog realm. I really like all 3 albums released so far with a plus on Imposing elements, to me his best album so far. Here Dean Watson plays all the instruments and I might say that he is pretty good on every instrument, some more then ok passages overall. What I like more is that Watson has many ideas, covering a wide spectrum of genres from jazz fusion a la return To Forever, to more heavier jazz fusion aproach not far from Derek Sherinian solo albums combined in places with more symphonic parts, the result is good for sure, but not so great as on Imposing elements. Twig, Freak or Nomad are definetly highlights with spectacular guitar arrangements and furious keyboards here and there. All in all definetly worth purchase any of his albums, he is one of most talented musicians in last years and he need a wider recognition world wide. I personaly even find this Fantasizer good towards great, my number on album from him remains Imposing elements. Not to forget another intresting art work. 3.5 stars.

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 Disguise Serenades by ARLEKIN album cover Studio Album, 2014
3.26 | 23 ratings

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Disguise Serenades
Arlekin Neo-Prog

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

3 stars "Disguise Serenades" is the sole project by Arlekin with all instruments and vocals performed by Igor Sidorenko from Ukraine. Unlike Igor's other band that is Post Rock instrumental, Arlekin have a retro Neo Prog sound familiar to those who have had their ears blessed by the magic of Marillion, especially when Fish was at the helm in the 1980s. Igor's voice at times has a theatrical quality like Fish or early Peter Gabriel in his Genesis art rock phase. This quality in vocal tone is noticeable on 'The Lost Path' and 'Dance of the Jester' and the music is dominated by staccato keyboards, with a Hammond sound. The mix on the vocals is a bit too loud at times, and wavering in melody becomes distinct. However the music is spellbinding with wall to wall passages of flute synth, heavy drums and bass rhythms, along with memorable guitar riffs. Igor is an accomplished guitarist and allows himself room to perform some amazing solos. I actually heard this album earlier before I received the album and did not realise this music was generated by one artist. This in itself is an incredible achievement. There is a great deal of passion injected into the songs, and Igor pours out his heart in the lyrics.

'Romance' has a similar intro melody to Pink Floyd's 'Empty Spaces' but the verses are very different. The vocals are a bit shaky but they improve on 'In This Puzzled Roundabout' the best song on the album. I love the bass on this, and the way that it builds into some aggressive distorted guitar riffs. The simple crashing cymbals are effective, and it really picks up when the tempo changes direction and a synth solo follows along ascending musical phrases. The length at over 15 minutes gives room for Igor to lash out on the keyboards and experiment with varying tempo changes and time signatures. There is a terrific lead break amongst all the prog, and Igor's voice sounds like Gabriel when it is multi-tracked. The twin guitar medleys are particularly effective, with a distinct Neo quality. Overall this song is worth checking out to experience Arlekin at it's best.

Arlekin will appeal to those who enjoy the likes of Babylon, Pink Floyd, early Genesis or Marillion. It is astonishing how one musician can create such beautiful music with so many layers and time signature changes. I can recommend "Disguise Serenades" to those who like their prog with experimental musicianship and lashings of keyboards and theatrical vocals.

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  10. Godbluff
    Van Der Graaf Generator
  11. Fragile
    Yes
  12. Pawn Hearts
    Van Der Graaf Generator
  13. Nursery Cryme
    Genesis
  14. Moving Pictures
    Rush
  15. Per Un Amico
    Premiata Forneria Marconi (PFM)
  16. Hybris
    Änglagård
  17. Larks' Tongues In Aspic
    King Crimson
  18. Io Sono Nato Libero
    Banco Del Mutuo Soccorso
  19. Mirage
    Camel
  20. Moonmadness
    Camel
  21. Hemispheres
    Rush
  22. The Road Of Bones
    IQ
  23. Si On Avait Besoin D'Une Cinquičme Saison
    Harmonium
  24. Storia Di Un Minuto
    Premiata Forneria Marconi (PFM)
  25. Relayer
    Yes
  26. Kind Of Blue
    Miles Davis
  27. Darwin!
    Banco Del Mutuo Soccorso
  28. A Farewell To Kings
    Rush
  29. Birds Of Fire
    Mahavishnu Orchestra
  30. In A Glass House
    Gentle Giant
  31. Crime Of The Century
    Supertramp
  32. The Silent Corner And The Empty Stage
    Peter Hammill
  33. In a Silent Way
    Miles Davis
  34. Still Life
    Opeth
  35. Ommadawn
    Mike Oldfield
  36. Hot Rats
    Frank Zappa
  37. Aqualung
    Jethro Tull
  38. Meddle
    Pink Floyd
  39. Permanent Waves
    Rush
  40. The Raven That Refused To Sing (And Other Stories)
    Steven Wilson
  41. Depois Do Fim
    Bacamarte
  42. H To He, Who Am The Only One
    Van Der Graaf Generator
  43. Images And Words
    Dream Theater
  44. Metropolis Part 2: Scenes From A Memory
    Dream Theater
  45. One Size Fits All
    Frank Zappa
  46. Scheherazade And Other Stories
    Renaissance
  47. The Yes Album
    Yes
  48. The Lamb Lies Down On Broadway
    Genesis
  49. The Grand Wazoo
    Frank Zappa
  50. A Trick of the Tail
    Genesis
  51. Still Life
    Van Der Graaf Generator
  52. The Snow Goose
    Camel
  53. Second Life Syndrome
    Riverside
  54. In The Land Of Grey And Pink
    Caravan
  55. The Inner Mounting Flame
    Mahavishnu Orchestra
  56. Spectrum
    Billy Cobham
  57. Octopus
    Gentle Giant
  58. Hatfield And The North
    Hatfield And The North
  59. Time Control
    Hiromi Uehara
  60. The Power And The Glory
    Gentle Giant
  61. Free Hand
    Gentle Giant
  62. Rock Bottom
    Robert Wyatt
  63. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  64. Arbeit Macht Frei
    Area
  65. Zarathustra
    Museo Rosenbach
  66. Blackwater Park
    Opeth
  67. Radio Gnome Invisible Vol. 3 - You
    Gong
  68. The Perfect Element Part 1
    Pain Of Salvation
  69. Rubycon
    Tangerine Dream
  70. Mëkanīk Dëstruktīẁ Kömmandöh
    Magma
  71. Misplaced Childhood
    Marillion
  72. Viljans Öga
    Änglagård
  73. Ghost Reveries
    Opeth
  74. Acquiring the Taste
    Gentle Giant
  75. Space Shanty
    Khan
  76. Felona E Sorona
    Le Orme
  77. Emerson Lake & Palmer
    Emerson Lake & Palmer
  78. Fear Of A Blank Planet
    Porcupine Tree
  79. Elegant Gypsy
    Al Di Meola
  80. In Absentia
    Porcupine Tree
  81. Hamburger Concerto
    Focus
  82. Doomsday Afternoon
    Phideaux
  83. L'isola di niente
    Premiata Forneria Marconi (PFM)
  84. ~
    iamthemorning
  85. Lateralus
    Tool
  86. The Snow Goose (Re-recording)
    Camel
  87. K.A
    Magma
  88. Script For A Jester's Tear
    Marillion
  89. Bitches Brew
    Miles Davis
  90. If I Could Do It All Over Again, I'd Do It All Over You
    Caravan
  91. Crimson
    Edge of Sanity
  92. Operation: Mindcrime
    Queensr˙che
  93. De-Loused In The Comatorium
    The Mars Volta
  94. Anno Domini High Definition
    Riverside
  95. Ocean
    Eloy
  96. Remedy Lane
    Pain Of Salvation
  97. Part the Second
    Maudlin Of The Well
  98. Voyage Of The Acolyte
    Steve Hackett
  99. Leftoverture
    Kansas
  100. Romantic Warrior
    Return To Forever

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

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