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 Blackdance by SCHULZE, KLAUS album cover Studio Album, 1974
3.33 | 101 ratings

Klaus Schulze Progressive Electronic

Review by Atavachron
Special Collaborator Honorary Collaborator

4 stars


price of

plural vibrations

is equal to the work of

a man charged with the art

of tangible thoughts. A question

of how and why has been asked but

our duties may outweigh such discourse.

We are the music takers; the music fakers; the

music shakers; the music forsakers and the music

rakers. He is the music baker and therefore the music

caker; he is the Musicmaker; the music quaker, and most of

all, the music waker. New is old, sometimes gold, sometimes in

the pot nine days old enough to be your grandfather and spewing his

unearthly earthenware here, there, and everywhere but the fullness of mind.


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 Time Machine  by DZYAN album cover Studio Album, 1973
3.74 | 77 ratings

Time Machine
Dzyan Krautrock

Review by presdoug

5 stars In this sophomore studio effort by German, Mannheim-based krautrock/jazz-rock band DZYAN, the group are a trio, with original bassist/keyboard player Reinhard Karwatky recruiting former VITA NOVA guitarist Eddy Marron, and Swiss drummer/percussionist Peter Giger, who most recently had been recording with EBERHARD WEBER. Time Machine is the first DZYAN record I ever heard, and I feel it is their best, and most striking effort, and remains as dynamic and fresh as when I first heard it in 1989 on a quad vinyl release from Bellaphon Records.

This record is a fascinating excursion into jazz-rock improvisational jams and ethnic experimentation that crosses that line between being merely good, into absolute fantastic, brilliant territory. Yes, Time Machine has that perfect sense of combining jazz-rock prowess with ethnic and krautrock experimental abandonment in just the right fit.

Kabisrain opens the album in a free flowing experimental fashion with quite an abstract feel to it. Next, is Magika, one of the best heavy fusion jams, with Eddy Marron leading things with some guitar that leaves you literally breathless in it's unbridled emotion. And Giger is no slouch, either, with some inventive drumming/percussion complex in it's driving intensity. Bassist Karwatky is competently in the midst of it all! Light Shining Out Of Darkness then shows off some beautiful acoustic guitar from Eddy, with Giger's flowery percussion, and Reinhard Karwatky's probing bass lines.

Side Two offers up a more than 16 minute jam the title track of Time Machine. Not one second of this incredible music trip is wasted on the listener, and I am enthralled by it all upon every listen; it is real travelling music, led by Eddy Marron's wild guitar freakouts-full of 16th notes-along with Peter Giger's relentless percussive attacks and Reinhard Karwatky's integral bass work. It all fits together in a brilliant way, leaving the listener fulfilled, but never worn out.

Time Machine is one of my Top 10 albums of all time, and not surprisingly so, as for me, it is the epitome of exceptional, spirited, and great music, and it is wonderful to be surrounded by the greatness of it all; yes, it is that good. Essential listening-5 stars.


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 Uomo Di Pezza by ORME, LE album cover Studio Album, 1972
4.21 | 567 ratings

Uomo Di Pezza
Le Orme Rock Progressivo Italiano

Review by Modrigue
Prog Reviewer

3 stars Romantic and dreamy

First true progressive album by Le Orme, "Uomo di Pezza" ("Rag doll man" in English) offers a music in par with the cover art: sweet, mellow, reassuring, oneiric... The disc can be divided in two sides: Side 1 incorporates classical music elements and could be described as symphonic prog, whereas Side 2 - my favorite - is more dreamy and soothing. However, the compositions possess a proper Italian sensibility that cannot be found on British bands.

Keyboardist Antonio Pagliuca plays synthesizer for the first time on this record.

To be honest, I'm not really a big fan of Side 1. The opening of "Una Dolcezza Nuova" is the introduction of JOHANN SEBASTIAN BACH's chaconne no. 2 in D minor, BWV 1004, played by guest pianist Gian Piero Reverberi. The rest is a delicate ballad, smooth but a little cheesy. Released as a single in Italy, "Gioco Di Bimba" is a gentle naive song, typically Italian, with a slight medieval touch, a bit too sugary for me. Some nice floating passages can be found on "La Porta Chiusa", the longest track of the disc. Influenced by symphonic prog bands such as ELP or KING CRIMSON, the song contains a few changes, but is overall uneven.

Nonetheless, the dream really begins with Side 2. The soft "Breve Immagine" is a pretty moment, touching and enchanting. The spacey ethereal keyboards enhances the oneiric impression. Too short. The delicate "Figure Di Cartone" has a beautiful melancholic melody, while the trippy crystalline "Aspettando L'Alba" seems to come from the unreal world depicted on the cover, somewhere above the clouds. These three songs are simply delightful. The only intruder here could be "Alienazione" and its more oppressive ambiance. This threatening instrumental, jazzy at times, is nevertheless quite nice.

Despite the average tracks of Side 1, Side 2 is well worth the listen alone and make "Uomo di Pezza" an essential record of the genre, possessing its own charm and identity. Furthermore, the music is coherent with the cover art. As a non-Rock Progressivo Italiano fan, I recommend this album to people into symphonic or even space prog wanting to discover this style and, of course, to RPI lovers.

A romantic dream awaits you...


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 Tarkus by EMERSON LAKE & PALMER album cover Studio Album, 1971
4.06 | 1507 ratings

Emerson Lake & Palmer Symphonic Prog

Review by Ijon Tichy

5 stars A masterpiece from the first to the last note, recorded in two weeks (1 per side), the time you need today for adjusting the drum set, by three grandmasters of prog. Many agree to the ultimate rating of the title track, as many dislike the B-side. For me it's a perfect counterpart to the serious construct of 'Tarkus', with a lighter, sometimes humorous touch. Emerson, Lake & Palmer plays Honky Tonk, simple songs, fifties Rock'n' Roll. So what? They always did. And they are doing great! I find all songs masterly played, authentic and well composed. In fact, the combination makes 'Tarkus ' such a great album, and ELP such a great band!


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 Underworld by SYMPHONY X album cover Studio Album, 2015
3.84 | 201 ratings

Symphony X Progressive Metal

Review by Prog Leviathan
Prog Reviewer

4 stars Symphony X continues their winning streak of excellent metal releases with Underworld, an album of monstrous hooks and savage riffing that checks just about every box you could want in a prog-metal album. It's conceptual, features brain-twisting instrumental moments, outstanding vocals, and memorable songs; however, one thing that Symphony X continually brings to the table more than many of their peers is a good old fashioned heavy metal style that is simply irresistible.

I had a gushing review of their previous album, Iconoclast, and much of that praise carries over here as well. This band is refreshingly consistent, crushing it from a songwriting and instrumental perspective. Songs are dramatic and ambitious, but not so much so that the album is weighed down in pretense or narrative baggage. The momentum doesn't let up, and the group strikes a fine balance between "normal" metal riffing and prog-metal scope. Every one of these songs has musical moments that will get in your head: maybe it's a soaring metal solo from guitarist Romeo, smartly integrated keyboards from Pinella, or the excellent rhythm section - which, by the way, is masterfully produced, sounding crisp and clear throughout; how nice to hear every member of a metal group! Likely though, you'll be drawn to the rugged and varied vocals of Russel Allen, who with each release becomes nearer and nearer to the top of my list of metal vocalists. The guy is a champ, delivering the often evocative (i.e., tongue-in-cheek) lyrics with gusto and machismo.

My only criticism is that Symphony X is beginning to tread familiar ground here, but when they produce melodies and hooks, and metal moments so epic, it's hard to argue that it's a bad thing.

Bottom line, Underworld is a ton of fun that should absolutely be checked out by metal fans. The "old" Symphony X was great, but the approach that the band has taken in the past three releases hits harder and aims to please, which it absolutely does. I still recommend Iconoclast as the current entry point to this excellent metal group's library, but Underworld is probably right behind it. Check it out, get your fists pumping, head banging, brain twisting, voice crackling, and emotions satisfied with this excellent prog-metal album.

Songwriting: 4 - Instrumental Performances: 4 - Lyrics/Vocals: 4 - Style/Emotion/Replay: 5


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 Angel Rat  by VOIVOD album cover Studio Album, 1991
3.92 | 121 ratings

Angel Rat
Voivod Tech/Extreme Prog Metal

Review by Modrigue
Prog Reviewer

3 stars Grunge from outer space?

First VOIVOD studio album from the 90's, "Angel Rat" marks a musical orientation change from dark thrash prog metal towards more accessible "space grunge". Fans of the 80's stuff from the Canadians may be a bit disappointed at first listen. It's also the last record with bassist Jean-Yves Thériault (Blacky). However, "accessible" does not necessarily mean of lesser interest, and grunge is a subgenre that VOIVOD influenced. In fact, the band has been cited as a reference by the members of NIRVANA, due to their particular dissonant sonorities.

Furthermore, there's still a bit of metal as well as typical VOIVOD tortured sounds in this opus. Therefore, "Angel Rat" is more a logical evolution than a radical turn, and thus deserves attention.

The first half of the disc is the most interesting. "Shortwave Intro" is a short electronic opening for the powerful and somber "Panorama". Its dynamic riff sets the tone for the rest of the album. "Clouds In My House" and "The Prow" are efficient grunge songs with a few spacey touches and haunting moments. Very nice. "The Prow" may be my favorite of the disc, ideal to navigate aboard a cosmic ship! "Best Regards" is a cool 80's heavy rock with some changes, while the dissonant "Twin Dummy" is a bit average. After this sonic deluge, calm comes back momentarily with the title track. An enjoyable alternative rock track, nothing more.

The second half of the record is unfortunately not as good. The hard grunge "Golem" and the US big rock "The Outcast" are not very convincing. The best and most original passage of this second half is undoubtedly "Nuage Fractal". This strangely named space rock will you make you travel through the dark universe! "Freedoom" is another alternative rock song, but more peaceful and floating this time. Not bad, but does not really maintain attention until near the ending. The disc concludes with the average "None Of The Above".

Neither very progressive nor often cited by fans, "Angel Rat" contains however very good tracks that should interest the fans. Even if the overall result is unequal, the band manages to keep their musical identity while merging their style in the then nascent grunge genre. Don't pick this disc if you're looking for heavy/thrash prog metal, but if want punchy, accessible and a little somber rock, or just to discover VOIVOD, then you can go for it.


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 Whalefeathers by WHALEFEATHERS album cover Studio Album, 1971
3.12 | 6 ratings

Whalefeathers Prog Related

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

3 stars Thankfully proving that despite having a fairly rubbish band name that includes the word `Whale' in it still provides great prog-related music (also looking at you, Satin Whale!), late Sixties group Whalefeathers from Cincinnati, Ohio released two albums in their fairly short time together, the debut `Declare' in 1970 and this self-titled follow-up a year later. With a sound somewhat similar to groups such as Cream, Vanilla Fudge and Nosferatu and favouring blues-based soloing, confident soulful vocals and plenty of Hammond organ soloing, if anything the band sounded more embryonic and Sixties flavoured than anything else, with the `proggy' elements coming from the improvised jamming passages they liked to stretch out with, not unlike what many of the numerous other `proto-prog' groups were delivering at that time.

Opener `World of Pain' is a powerful rocker with searing electric guitar runs and trickles of Hammond organ seeping in before culminating in two bluesy finales. `I Don't Need No Doctor' is a sprightly and gutsy R n'B-flecked rocker with winning group harmonies and vibrant up-tempo bursts, and `It's a Hard Road (Back Home)' is a stirring slow-burn blues come-down with plentiful piano, electric guitar and organ solos. `Bastich' that opens the flip-side shows the most exciting potential displayed by the band, the first minutes a reaching build of dreamy group harmonies before a tough slow-rocking second half. `Pretty Woman' is all grooving bluesy rocking swagger, and the ten minute closer `Shadows' provides the closest the album comes to prog thrills by delivering lengthy extended jamming soloing from all the musicians. With endless runaway Hammond organ, smouldering guitar runs, purring thick bass constantly punching through and thrashing drum attacks, it presents the band that their most wild and unhinged and is the standout moment of the whole LP - very tasty stuff!

Whalefeathers disbanded two years after this album in 1973, but during their time they got to perform concerts alongside higher-profile acts such as the Allman Brothers, Edgar Winter, Grand Funk Railroad, Badfinger and others. They left behind two very admired albums that are still enjoyed today, with a steady demand for reissues over the years giving the band and their works a small but sure status of an obscure rock band of note. Fans of hard-driving Hammond rockers with killer guitar playing, light psychedelic flavours, a large dose of the blues and early proto-prog sounds will likely find plenty to interest them here, and it's an energetic, cool and addictive album from a talented lost group well worth exploring.

Three stars as a prog album, four stars as a red-hot rock album.


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 Little Red Record  by MATCHING MOLE album cover Studio Album, 1972
3.90 | 148 ratings

Little Red Record
Matching Mole Canterbury Scene

Review by ALotOfBottle

4 stars "We are determined to liberate Taiwan!"

Soon after their eponymous debut, Matching Mole hit the road and toured western Europe, appearing on various TV shows and festivals. It was at that time that David Sinclair left the band to play with Hatfield and the North and later on Caravan's For Girls Who Grow Plump in the Night. He was replaced with Dave MacRae, a jazz keyboardist from New Zealand, who was already credited as a guest on Matching Mole's debut album. In July of 1972, about half a year after their first work, the band entered the doors of London's CBS Studios to record Matching Mole's Little Red Record. The release was produced by Robert Fripp of King Crimson. In addition, the band invited Brian Eno, the pioneer synthesist, to guest on their album.

The title of the release is an allusion to Chairman Mao's Little Red Book, known as the Maoist bible of the cultural revolution period. The cover art portrays the band members on what looks like a Chinese communist propaganda poster. The inspiration for the cover painting came from a Chinese postcard with a caption that read "We are determined to liberate Taiwan!" Despite a lot of controversy, the group, in fact, had nothing to do with idea for the album art, as the drawing was designed by CBS' graphic designers. Robert Wyatt even admitted that he did not particularly like the design. Wyatt's lyrics on Little Red Record have also been an object of heated discussion. The artist declares that the fight for the righteous socialist world should also be expressed in music and confesses that his beliefs are closer to the Chinese communist world rather than the degenerated capitalist west.

Musically, Little Red Record is a quintessential Canterbury scene album. Matching Mole's style is notably different from their debut album. The group got rid of the song-oriented ballads almost entirely and introduced an even higher amount of jazz-fueled improvisation to their music. However, showcasing the group's members' musical skill does not seem to be the aim of the numerous improvisational passages that appear so frequently on Little Red Record. The heavy repeating passages, which often do provide a base for instrumental solos, create musical tension, which makes the music on this record incredibly moody and full of distinctive mysticism. The typical tongue-in-cheek, Canterbury-styled arrangements are common. This becomes evident with pre-recorded voices and sounds of various conversations played over the band's music, giving the album an eccentric appearance.

The high amount of jazz influences on Little Red Record compared to Matching Mole might partly be caused by the new keyboard player, Dave MacRae. His extensive use of Fender Rhodes electric piano adds a very fusion-esque element to the band's sound, at times similar to the one of Soft Machine. Similarly to Dave Sinclair, MacRae is extremely proficient in many diverse musical situations ranging from as far as subtle drone touches to accurate rhythm keyboard play to rapid, pronounced solo parts. Robert Wyatt's drumming is very dense. He finds himself comfortable playing heavy, varied rhythms in odd time signatures. His characteristic vocals also appear, but more often in a spoken word scenario. Although it may not seem like it at first, Bill McCormick's basslines play a crucial role in Matching Mole's sound, building a strong musical foundation for other members. David Sinclair's fuzz organ solos are replaced with those on Phil Miller's guitar, which he plays with an astonishingly precise touch. Brian Eno with his VCS3 synthesizer is responsible for ambient, electronic passages, creating striking, mystic soundscapes.

The album opens with "Starting in the Middle of the Day, We Can Drink Our Politics Away", which features a male choir supported by a repeating piano passage. The lush, surrounding organ sound builds up tension, which is discharged with a loud, rapid jazz jam on "Marchides". The next track, "Nah True's Hole" is based around a repeating pattern with a conversation in the background. In fact, the female voice belongs to Julie Christie, a famous English actress, who is credited as Flora Fidgit. The things she says are erotically-charged and work particularly well with the passage in the background. On "Righteous Rhumba", Robert Wyatt's lyrics talk about the utopian socialist vision and his repellence towards the capitalist world. "Brandy as in Benj" is a jazz-based piece, aimed at displaying the instrumental skill of Matching Mole's members. "Gloria Gloom" starts out with Brain Eno's lengthy synthesizer texture and resolves into Robert Wyatt's politically-charged song. Towards the end, Eno's input comes back, closing the song in a dark, agitating manner. "God Song", the only acoustic piece, sounds a bit like song-oriented tracks from Wyatt's solo releases. "Flora Fidgit" is another jazz jam, in ways similar to what Soft Machine were doing at the time. The album is closed with "Smoke Signal". The track features tense ambient soundscapes with Robert Wyatt's drum solo. Towards the end, one is capable of hearing soft melodies, sounding as if trying to break through, which eventually fade way.

Matching Mole's iconic Little Red Record could best be described as an eccentric political jazz statement with great musicianship. The controversy the band caused with its appearance and title may partly be responsible for its success. The concept and performance is very interesting and original. This is a legendary Canterbury scene album and is without a doubt a must-listen! Recommended!


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 Victim Of Your Father's Agony by ARABS IN ASPIC  album cover Studio Album, 2015
3.84 | 51 ratings

Victim Of Your Father's Agony
Arabs in Aspic Heavy Prog

Review by Matti
Prog Reviewer

4 stars - First review for this album -

The Norwegian heavy prog band ARABS IN ASPIC is one of the Scandinavian acts on the Italian Black Widow label. A new acquaintance to me, but in the light of reviews their style has stayed quite unchanged. It's very much oriented to the erly 70's classic heavy rock sound of URIAH HEEP, DEEP PURPLE etc. Lots of Hammond and meaty electric guitars!

The vocals are surprisingly pleasant, pretty free of the usual heavy clich's such as big vibrato or "high & loud" acrobatics, instead full of hree-part vocal harmonies. Yes, they are "heavier" than Crosby, Stills & Nash, but in a good, uplifting way that also non- heavy diggers such as me can easily appreciate. And the music is equally positive and good-spirited (without being lame at all), in all its power. Whereas a great deal of of heavy/metal rock makes me feel angry and frustrated, this quartet makes me feel good.

Tempo ismostly on the middle ground. This is crucial, giving enough room to both PINK FLOYD -reminding atmosphere and Nursery Cryme -era GENESIS kind of instrumentality. Guitars are relatively nuanced and besides Hammond there's also good ol' Mellotron.

I only wish the album to be a bit longer than 37' minutes. With three out of nine tracks being instrumentals, the whole is very balanced. No, it doesn't rival classics such as Demons & Wizards (1972) in the songwriting, but right from the start I knew I like it and want to recommend it to all listeners of vintage old school Heavy Prog.


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 Safe Asylum by DRIFTING SUN album cover Studio Album, 2016
4.26 | 18 ratings

Safe Asylum
Drifting Sun Neo-Prog

Review by The Jester

4 stars Just a few days ago, Drifting Sun released their new album named Safe Asylum. Safe Alylum has a fantastic cover, made by A Russian artist as Pat Sanders told me, but I don't remember the name to be honest. But in comparison with "Trip" this is better by far! As for the music, it is clear to me that the band tried to create something different this time, in comparison with their previous album. 'Trip the Life Fantastic' was a lighter and more melodic album, with Pat's piano being the leading instrument in most occasions. It was included shorter compositions and more "catchy" melodies. Safe Asylum is darker, with longer and more complex compositions. Because of that, it needs a few more listening in order to appreciate it. With every listening the album "grows" in you, and then it is very hard to leave it aside. There are some similarities with the previous album of course, like for example the beautiful melodic passages and the strong guitar riffs and solos. Safe Asylum includes 8 tracks(plus 2 bonus in the limited edition). 3 of them were included in last year's EP release, under the name 'Alice'. These 3 songs are: Alice, Vagabond and Emphasis. I am not going to get into details and write about each song separately, but I will mention my most favourite songs, which are the following: The Hidden Truth, Intruder, Desolation-Retribution, Wonderland and Gods. The latter is the highlight of the album. (In my opinion, of course). Although Safe Asylum is a rather different album in comparison with 'Trip', it is equally good if not better. Definitely a very serious piece of work that deserves your attention! Recommended to the fans of modern Progressive Rock, Neo-Prog and to all those who can appreciate a well-structured album, with beautiful melodies and strong emotions in it. My Rating would be 4.0 out of 5.0 stars.


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  2. Sean Trane (3159)
  3. ZowieZiggy (2929)
  4. apps79 (2629)
  5. Warthur (2246)
  6. Easy Livin (1928)
  7. b_olariu (1909)
  8. UMUR (1906)
  9. Gatot (1811)
  10. Conor Fynes (1592)
  11. SouthSideoftheSky (1566)
  12. Evolver (1400)
  13. Windhawk (1363)
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  16. AtomicCrimsonRush (1272)
  17. snobb (1216)
  18. erik neuteboom (1201)
  19. Finnforest (1127)
  20. kenethlevine (1069)
  21. ClemofNazareth (1010)
  22. Cesar Inca (928)
  23. loserboy (895)
  24. tszirmay (890)
  25. Matti (878)
  26. Rune2000 (867)
  27. octopus-4 (846)
  28. kev rowland (844)
  29. memowakeman (835)
  30. Marty McFly (834)
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  38. progrules (666)
  39. Neu!mann (655)
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  44. Ivan_Melgar_M (555)
  45. Prog Leviathan (547)
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  52. colorofmoney91 (459)
  53. admireArt (458)
  54. Aussie-Byrd-Brother (455)
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  56. J-Man (449)
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  1. Close To The Edge
  2. Selling England By The Pound
  3. Thick As A Brick
    Jethro Tull
  4. Wish You Were Here
    Pink Floyd
  5. In The Court Of The Crimson King
    King Crimson
  6. Foxtrot
  7. Dark Side Of The Moon
    Pink Floyd
  8. Red
    King Crimson
  9. Animals
    Pink Floyd
  10. Godbluff
    Van Der Graaf Generator
  11. Fragile
  12. Nursery Cryme
  13. Pawn Hearts
    Van Der Graaf Generator
  14. Larks' Tongues In Aspic
    King Crimson
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  16. Per Un Amico
    Premiata Forneria Marconi (PFM)
  17. Mirage
  18. Hybris
  19. Moonmadness
  20. Hemispheres
  21. Relayer
  22. Darwin!
    Banco Del Mutuo Soccorso
  23. Io Sono Nato Libero
    Banco Del Mutuo Soccorso
  24. In A Glass House
    Gentle Giant
  25. A Farewell To Kings
  26. Storia Di Un Minuto
    Premiata Forneria Marconi (PFM)
  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. Meddle
    Pink Floyd
  32. Crime Of The Century
  33. Hot Rats
    Frank Zappa
  34. The Raven That Refused To Sing (And Other Stories)
    Steven Wilson
  35. Still Life
  36. Ommadawn
    Mike Oldfield
  37. The Silent Corner And The Empty Stage
    Peter Hammill
  38. H To He, Who Am The Only One
    Van Der Graaf Generator
  39. Depois Do Fim
  40. Images And Words
    Dream Theater
  41. Permanent Waves
  42. Metropolis Part 2: Scenes From A Memory
    Dream Theater
  43. Mëkanïk Dëstruktïẁ Kömmandöh
  44. The Yes Album
  45. The Grand Wazoo
    Frank Zappa
  46. The Lamb Lies Down On Broadway
  47. Still Life
    Van Der Graaf Generator
  48. One Size Fits All
    Frank Zappa
  49. In a Silent Way
    Miles Davis
  50. The Snow Goose
  51. Scheherazade And Other Stories
  52. Hand. Cannot. Erase.
    Steven Wilson
  53. The Power And The Glory
    Gentle Giant
  54. Octopus
    Gentle Giant
  55. Free Hand
    Gentle Giant
  56. A Trick of the Tail
  57. Rock Bottom
    Robert Wyatt
  58. In The Land Of Grey And Pink
  59. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  60. Zarathustra
    Museo Rosenbach
  61. The Road Of Bones
  62. Second Life Syndrome
  63. Blackwater Park
  64. In Absentia
    Porcupine Tree
  65. Ghost Reveries
  66. Fear Of A Blank Planet
    Porcupine Tree
  67. Emerson Lake & Palmer
    Emerson Lake & Palmer
  68. Arbeit Macht Frei
  69. Viljans Öga
  70. Spectrum
    Billy Cobham
  71. Acquiring the Taste
    Gentle Giant
  72. Misplaced Childhood
  73. Hatfield And The North
    Hatfield And The North
  74. The Inner Mounting Flame
    Mahavishnu Orchestra
  75. K.A
  76. Folklore
    Big Big Train
  77. Hamburger Concerto
  78. Space Shanty
  79. Radio Gnome Invisible Vol. 3 - You
  80. Pale Communion
  81. Rubycon
    Tangerine Dream
  82. Script For A Jester's Tear
  83. The Perfect Element Part 1
    Pain Of Salvation
  84. Remedy Lane
    Pain Of Salvation
  85. Lateralus
  86. L'isola di niente
    Premiata Forneria Marconi (PFM)
  87. Doomsday Afternoon
  88. Voyage Of The Acolyte
    Steve Hackett
  89. Elegant Gypsy
    Al Di Meola
  90. If I Could Do It All Over Again, I'd Do It All Over You
  91. Grace for Drowning
    Steven Wilson
  92. Felona E Sorona
    Le Orme
  93. Caravanserai
  94. Part the Second
    Maudlin Of The Well
  95. Anabelas
  96. Uzed
    Univers Zero
  97. Time Control
    Hiromi Uehara
  98. Bitches Brew
    Miles Davis
  99. Operation: Mindcrime
  100. Leftoverture

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


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