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 A by JETHRO TULL album cover Studio Album, 1980
3.20 | 396 ratings

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A
Jethro Tull Prog Folk

Review by 3almost46yea

5 stars During a span of three decades I have read so many bad reviews about this Jethro Tull album, and after so many years I can only say that those reviews are actually bad, not the album itself.

I remember hearing this masterpiece for the first time, and the only two tracks I could remember in the days after were Fylingdale Flyer and Black Sunday, the rest of the album did not make a greater impact on the first two or three listenings and I was thinking at time "hmmm...ok, this was strange experiment with the unknown territories, bring me the JT classics now." But as it's always the case, quality is surely finding it's way to the ears, so in the following months I noticed that I keep coming for the dose of A on a regular daily basis.

There is something very special in the way this album is produced and played (my only notice is that in Uniform bass line should have been mixed a little bit lower, and in Crossfire those funny synths blops during chorus are completely useless, but there is no perfect album anyway...), musical and technical variety heard on this work are in my simple opinion, the best pieces of music ever recorded in 1980's.

This album had a great luck in the very unlucky situation, and that is the fact that after the disastrous decision of mr. Anderson to fire the best musicians he could be with in the 70's under the Jethro Tull hat, he again somehow managed to find best of the best, especially naming Eddie Jobson and his maestrous "additional material" paired together with his marvelous musicianship skills that can be heard trought all of the album. The truth is that without Eddie in place of both David Palmer and John Evans, as well as Mark Craney on drums, this would be a true disaster on the same level as mr. Andersons true solo album - Walk into the Light and reprise of disaster heard on Under Wraps, thankfully that was not meant to happen in 1980.

Martins signature Electric Guitars (the true reason I started listening Jethro Tull) are really shining trought the whole of the record with spot on correspondance with the mood and themes in songs, while mr. Anderson's voice really hammers everything written for this ocasion. Sadly, it was the last time in his carrier that we have heard real mr. Anderson and his mighty voice on any album, he thankfully still sounds very good on the Broadsword, but it's already a two or three steps below the quality heard on A and all other previous JT records. As I said earlier, Eddie Jobson altought featured just like a guest musician here, had almost impossible task of providing the true replacement for both David Palmer and John Evans. In reality, there is no true replacement for those two, but he actually DID IT on a much different scale, giving the new energy and sound to the Jethro Tull of 1980's (violins are nailing it down a big time!), while Mark Craney on drums maybe - just maybe, did the best ever job on any Jethro Tull album, an also almost impossible task besides maestral legacy of Barriemore Barlow - techniques on The Pine Marten's Jig, Protect and Survice, Black Sunday and Uniform are just madly perfect. The strange link is surely Dave Pegg which I'm sure did the best he could, but with a huge gap between John Glascock and especially Jefrey Hammond Hammond who was in my opinion the best bass player.

This album surely needs time to really get into the ears, but as the time goes on I consider it to be one of the best Jethro Tull efforts up to date.

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 Blood Inside by ULVER album cover Studio Album, 2005
3.80 | 121 ratings

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Blood Inside
Ulver Post Rock/Math rock

Review by TCat

5 stars In this album, Ulver explores sounds, moods, soundscapes, electric and acoustic sounds, original and non-original loops and samples, and traditional composition. Sometimes they do it all at the same time. This creates an amazing sound that is very original. This is prog rock at it's best especially among the sub-genres of Post Rock and even RIO. There is a heavy use of keyboards, both electronic and acoustic and a lot of interplay of dissonance and melodious hooks throughout. If you were to compare this to anything, it would be like a mellow version of The Mars Volta where you can hear a lot going on, but the various sounds, melodies and etc are easier to pick out. There is a similarity to Kayo Dot also especially in the timbre of the vocal delivery and the difficult-to- understand lyrics. I find the instrumentals are easier to follow than they are for Kayo Dot however. Vocals are very mysterious, brooding and dark, but at times they even approach pop sounding vocals, but in a very warped way in that no melodies are easily picked out of the individual tracks.

There is a theme going on in this wonderful cacophony of sound. According to the Garm, the key words that describe the music that is going on here are heart, blood, red, rose, beauty, violence, body, life, death, ambulance, hospital and so forth. It is psychedelic, progressive, sad and sanctified. It is beautiful, strange, experimental. The subject matter deals with birth, death and the suffering in between. There is such an amazing balance of old and new with this album, in the instruments, in the vocals and samples. Sometimes you hear singing that sounds like something from antiquity, other times it sounds very modern, almost like a warped Alan Parsons. You get tastes of electronica at times and at others you get classical elements, even a section from Bach at the end of the amazing song "It Is Not Sound". As far as the vocals; it's almost like the vocals are trying to be optimistic but the lyrics and the melodies keep preventing that from happening. That's the best way I can explain it. You have to listen close, this is not music you can appreciate by just having it play in the background, you have to dig into it.

There is no doubt that this is not for everyone. But that shouldn't keep the serious prog listener from trying it out and really giving it a chance. Listen to it closely though before passing judgment. Don't make the mistake of lumping all of the tracks together though, or you will only get the impression that this is just a wall of noise with a lot of unfocused things going on. First listen to each track individually and pick out the elements in each: a little jazz here, a little classical there, a little bit of something else over there. I think this is just genius. I know not everyone will agree, but I love this stuff! Not everyone can pull this off, the combination of old and new and balance it all out so well, though it probably leans toward the strange and dark more than the normal and humorous. In my opinion, this is a masterpiece of post rock and I will rate it as such. 5 stars.

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 Corvus Stone II by CORVUS STONE album cover Studio Album, 2014
4.60 | 61 ratings

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Corvus Stone II
Corvus Stone Crossover Prog

Review by onlinewithandrea

5 stars This is a brilliant release....an amazing musical journey and a fabulous collaboration featuring Colin Tench, Sean Filkins, Phil Naro, Vic Tassone and more. I had the pleasure of interviewing all of them on my show in the past couple of years so it is great to hear their work on Corvus Stone II...My favorite track at the moment is Scandinavians In Mexico......and I love Mr. Cha Cha...Both of these tracks make me want to get into my Latin dancing....Moaning Lisa is another one of my favorites... In addition to the music one of the things that I always love about Corvus Stone is their creative track titles. A Reflective Review By Andrea R. Garrison - Online With Andrea

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 Tales Of Imperfection by FLAMBOROUGH HEAD album cover Studio Album, 2005
3.58 | 30 ratings

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Tales Of Imperfection
Flamborough Head Neo-Prog

Review by mbzr48

5 stars The album starts with a short instrumental with soothing flute played by Margriet. There is a certain cleanness about it, but Edo Spanninga's keyboards are pretty important too, as is the piano. The song shows warmth, and a bit of power too as we find ourselves in "Maureen". The flute plays the main theme, the guitar plays some strong chords. The music is as we have come to expect, very melodic, quite accessible, but varied. The production is good and clear. The style I guess is a mix of Camel and Glass Hammer with a dose of Genesis (check out the guitar work for instance during the long intro). Thus we have a full symphonic sound with equal roles for guitar and keyboards, and a good sense of melody. But the band can also rock, as evidenced by the guitar plus flute solo and the brimming organ right before one third down the road. The vocals start just halfway, telling the story of the front cover. They are sung quite fast, but sure. In the middle we have some rare backing vocals, but I'm not so sure this is a good idea. In between we have the 'usual' solo elements which make up a lengthy symphonic song. We run right onto "Higher Ground", again an instrumental, but a lengthier one. The song has many (bombastic) elements and a large amount of melodic and instrumental variation, with a few synthetic violins thrown in, and some wonderful thematic flute play, combined with acoustic guitar. This is similar to the best of Hackett's solo material, the fairy stuff, although the guitar is more Latimer like. This does not mean the song is all melody. Indeed, following it we get to a rather funky part with 70's rhythm guitar. With the very Camel like keyboards that follow, we are thoroughly enmeshed in seventies Camel. Excellent.

"Silent Stranger" is the next somewhat epic vocal track, opening with flute and some prominent bass play, which gives the music a somewhat bouncy and frolic feel. The band again takes its time to start up the song, playing the main themes, before moving to the vocal part. Again, there is a lot of melodic material going into a song of this length. It seems Flamborough Head was pretty inspired when they wrote this. But the music is not all friendly, indeed the piano play is quite tense. The vocals are again rather pacey, as is the guitar work, but they do slowly build up. Margriet shows a bit more roughness at the edges, which improves things, I think. Halfway, we arrive at an introspective interlude with piano and strong melodic guitar work. In these moments, the Hackett influence is strongest. Later the vocals come back in, but in a different fashion, a bit more emotional and outspoken this time around. Margriet is sure singer these days.

"Captive Of Fate" opens with acoustic guitar and string synths. The vocal line sounds a bit familiar, but that could be from a previous listen. The song is about helping others in need, usually they have only fate to blame for their situation. The chorus is one that sticks in your head. The acoustic guitar-work is strongly reminiscent of Genesis.

"Mantova" is again an instrumental, the third one thus far. It brings the same melodic richness, but without sounding like something you heard before. This time the flute plays the role of bringing in a sense or urgency and all through the organ is in the back. This is one pacey instrumental with flashy play from all concerned. "Year After Year" is the closing vocal track, a ballad. Margriet again shows how much she has grown since the first album, and she carries the song more or less by herself, although the guitar solo shines too.

Year after year, Flamborough Head has been showing that it can still grow. Their brand of melodic symphonic rock with a female vocalist reminds most of Camel and Genesis, and this time around the band shows very sure of itself, excellent thematic material to bring into play, and with all the different melodic material, they do run the chance of loosing the edge to the music. However, they cope with this by introducing some tense interludes and elements, as well as some heavy guitar accents, and keep the pace high as needs be. For me a strong 5 stars!

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 A Scarcity of Miracles (a King Crimson Projekct by Jakszyk, Fripp and Collins) by KING CRIMSON album cover Studio Album, 2011
3.60 | 380 ratings

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A Scarcity of Miracles (a King Crimson Projekct by Jakszyk, Fripp and Collins)
King Crimson Eclectic Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

3 stars Scarcely miraculous, but pretty good

A Scarcity Of Miracles is not strictly speaking a King Crimson album but a "King Crimson project" (or ProjeKct as they insist on calling it) by Jakko Jakszyk, Robert Fripp, and Mel Collins. All three men are strongly associated with King Crimson and at the time of writing they are among the current members of that band. Jakszyk and Collins also previously played together in the 21st Century Schizoid Band, an excellent King Crimson alumni group which also featured founding Crimson members Ian McDonald and Michael Giles as well as other ex-Crimson members in Peter Giles (and later on Ian Wallace). The line-up on the present outing is completed by Tony Levin on bass and Chapman stick and Gavin Harrison on drums.

Not releasing this as a King Crimson album was probably wise given that the style of the music is more mellow and laid back than much of King Crimson's music. Fripp's soundscapes, Collins' saxophones, Jakszyk's lead vocals create a rather tranquil atmosphere and there is almost nothing heavy or aggressive about this music. Nonetheless one can hear the affinities with the calmer and less aggressive sides of King Crimson. Jakszyk probably had a strong influence on this music as I can hear similarities in style with his solo album The Bruised Romantic Glee Club - an album to which both Collins and Fripp as well as Gavin Harrison also contributed (together with Ian McDonald and Ian Walace and many others).

Personally, I find A Scarcity Of Miracles a very pleasant listen and I actually enjoy it more than anything that King Crimson proper has put out since 1974's Red. (But then again I have never been a fan of 80's, 90's, or 2000's King Crimson.) However, even if it starts out great with the opening title track it does not keep the same quality throughout. The album is thankfully not very long, but still it tends to get a bit samey towards the end. It would have benefited from a couple of tracks in a different, perhaps less mellow style, but I suppose we have to wait for that until a new King Crimson album is released. The fact that Collins and Jakszyk are now part of King Crimson is promising for the future.

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 Enfant Terrible by MOLLESTAD TRIO, HEDVIG album cover Studio Album, 2014
2.38 | 4 ratings

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Enfant Terrible
Hedvig Mollestad Trio Heavy Prog

Review by Argonaught

2 stars I have been curious about some recent developments on the Norwegian jazz-rock, fusion and prog scene. One of the newer albums I have given a good couple of listens to was the "Enfant Terrible".

Well, this title describes with uncanny insight and accuracy how I felt about the album: it comes across as infantile and borderline terrible .. jk :)

People who are into prog and contemporary jazz have been spoiled rotten by hundreds, of not thousands of supremely talented bands and musicians.

I can't determine if the Hedvig Mollestad Trio members just lack the necessary skills to play anything like proper prog or fusion, or they purposefully chose to express themselves artistically in this album by sounding like a teenager garage band. The "Enfant Terrible" is unpleasantly loud, coarse and monotonous.

I do not feel this album has contributed much to the (sub)genre.

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 What's Hidden There ? by SVANFRIDUR album cover Studio Album, 1972
3.45 | 21 ratings

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What's Hidden There ?
Svanfridur Heavy Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars One year of life and a collectable album was what this Icelandict act left behind.Svanfridur were formed in 1972 by ex-Náttúra singer/keyboardist Petur Wigelund Kristjansson, guitarist Birgir Hrafnsson, bassist Gunnar Hermannsson and drummer Sigurdur Karlsson.They toured around Iceland for numerous live shows, including also two trips to the Faroe Islands, but they were unable to get a contract on a proper label.Still they travelled to London and record their only album ''What's hidden there?'' at the Majestic Studios.The album was pressed there, but released only in Iceland in late-72'.

Swirling around as a rare Psych/Prog release, this is actually a Hippy/Psychedelic Rock album sung in English with minor progressive touches and a pretty versatile sound.They were heavily influenced by British Psych Rock and their sound was more into a late-60's mood than into a reputed progressive spirit.Lots of impressive vocals, balanced guitar solos and leads and a steady rhythm section are the elements characterizing most pieces towards a rather melodic and laid-back atmosphere.Some tracks contain a few rural vibes performed on strings and flute, while the use of piano and Moog synthesizer are the only true connections with Prog Rock, pretty limited and not very pronounced to say the truth.Leave any expectations for intricate material aside and the album ends up to be a trully enjoyable listening with memorable parts and occasional instrumental flashes with jazzy, bluesy and folky touches.Certain parts with a neurotic synth edge do sound quasi-progressive, but the dominance here is the nice use of guitars, sometimes with a heavier sound, and the clean vocals.

The album sold only a few hundred copies, leading the band to a decision for dissolution in mid-73', even if veteran guitarist Bjorrgvin Gislason (also from Náttúra) appeared to have join them.Kristjansson and Gislason went on to form Pelican and two years later Kristjansson rejoined forces with bassist Gunnar Hermannsson on Paradis.Birgir Hrafnsson and Sigurdur Karlsson formed the Rock band Change.

Very good Psychedelic Rock with discreet signs of proggy textures.Well-played, full of nice melodies but also secure arrangements, propably a great addition for fans of the style.Recommended anyway.

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 The Serpent Is Rising   by STYX album cover Studio Album, 1973
2.98 | 80 ratings

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The Serpent Is Rising
Styx Prog Related

Review by Fearabsentia

5 stars Styx-The Serpent is Rising

After the good but overall weaker effort of 'Styx II', Styx released one of their most groundbreaking albums yet. The mighty 'The Serpent is Rising' came and became a pretty odd release in Styx's discography.

The Serpent is Rising is a widely varied album, with songs ranging from heavy proto-metal rockers like 'Witch Wolf' and 'Young Man' and softer melodic tracks like 'The Grove of Eglantine' and 'As Bad As This'. Dennis DeYoung wrote most of the songs for the previous album, but guitarist John Curulewski took most of the songwriting duties for this album. This probably led to this album being much heavier then anything Styx had done before, hence James Young or Curulewski singing on most of the tracks. I find it hard to imagine DeYoung's vocals being very suited for the gritty heavy songs, his vocals give a great performance on 'The Grove of Eglantine' though.

My favorite song on the album is 'Young Man', which begins with some great acoustics and pretty dark lyrics. The song builds up quite a bit, especially after a soft melodic bridge when Young screams, quite a contrast. Another standout song is the title track combined with the final two tracks. The title track is sang by Curulewski and his voice fits in perfectly with the swirling keyboards and moogs and heavy menacing guitar. Then comes 'Krakatoa', which is a one and a half-minute track of screams before 'Hallelujah' starts playing.

I'm not sure if this is true, but I've always seen this album as a concept album. It may be subtle, but it appears that it's a concept album about life and death. Many of the lyrical themes connect to different parts of a mans life, 'The Grove of Eglantine' being about finding love, 'Young Man' being about war, 'As Bad as This' having to do with depression, and the title track relating to death.

Overall, this is my personal favorite Styx album and one of my favorite progressive rock albums of all time. It's an extremely underrated album and an album I find flawless.

Hope you found this review helpful.

(Originally written for www.MetalMusicArchives.com)

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 Stern by KONG album cover Studio Album, 2014
3.91 | 2 ratings

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Stern
Kong Experimental/Post Metal

Review by dsbenson

4 stars Stern is an excellent release from Kong. It's more experimental in tone than most of their work, and has a wider range of mood, from hard-driving "King Crimson" Red-era metal, to the techno influence of their middle period. Some of the softer pieces sound like they'd be at home on an Ozric Tentacles album (though perhaps a bit harder edged).

One of the things that I particularly like about the many moods of this album is the use of organic sounds throughout as background elements: some spoken word (some in English), laughter, bird song, etc. The album is, as always, instrumental only (apart from the background words used as sonic or rhythmic elements).

There's quite a bit of King Crimson influence at play in this album, including some guitar and bass elements that remind me of later Crimson (Beat and beyond). I'll have to do some comparative listening to see how Stern compares to some of the more recent Kong albums, but at first listen-through I'd put this as one of their best (though not at the peak of Phlegm).

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 Phlegm by KONG album cover Studio Album, 1992
3.97 | 4 ratings

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Phlegm
Kong Experimental/Post Metal

Review by dsbenson

4 stars I have all of Kong's albums, and to my mind Phlegm is still their peak. All of their albums rate over 3 stars in my book, though (with Earmined probably the lowest but still enjoyable).

I got into Kong around 1992 when Phlegm was released, on the recommendation of music stores (yes, there used to be such a thing) based on my love of King Crimson's album (and song) "Red." That's the closest comparison I can come up with for Kong at their strongest: very hard driving, progressive, instrumental metal. After Phlegm they started getting more synth-techno elements, but their music generally remains very metal-influenced, and well worth a listen. At very loud volumes, naturally!

I wish the first two Kong releases would get a quality remastering/remixing job, as the sound suffers considerably compared to later work. But the music and energy is still top notch.

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

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

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