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 Trial By Fire by JOURNEY album cover Studio Album, 1996
2.49 | 60 ratings

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Trial By Fire
Journey Prog Related

Review by Chicapah
Prog Reviewer

1 stars Whenever I'm feeling snarky I always know I can take my dour mood out on groups like Journey instead of my lovely wife or close relatives. But the joke's ever on me because, as usual with this band's records, what I foolishly presume will be a relatively painless aural exercise turns out to be an agonizing ordeal of yearning for it to be over. One of the drawbacks of the CD era is that commercial-minded ensembles like this bunch were now able to fit a lot more of their anemic, anti-prog material on a single disc. I should get a special Boy Scout merit badge just for sitting through this! In reference to this album singer Steve Perry boasted that "we didn't try to reinvent ourselves." He wasn't kidding. I'll say this up front: If you liked the music Journey was making just before they went on hiatus in '87 you're gonna be happy as a clam with what's on this, their 1996 comeback release, "Trial by Fire." Times changed. They didn't.

"Message of Love" - A spacey intro leads right into a "formula rock" ditty that holds no surprises. The only thing more predictable is the sun rising in the east every morning. "One More" - Following a sappy orchestral snippet that includes a "dramatic" spoken-word section I was mercilessly subjected to Perry's overwrought, Broadway stage-worthy vocalizing. In my mind I could picture him slowly rising from a smoking volcano and then strolling down a long lava-lined staircase while gesturing provocatively to the audience. (Hell, I had to think of something to take my mind off the banality of the tune.) "When You Love a Woman" - A very Michael Bolton-ish power ballad snooze fest complete with a faux gospel chorale swaying in the background. (I find I'm already having to restrain my gag reflex and I'm only 3 cuts in!) "If He Should Break Your Heart" - What's truly breaking my heart is that this kind of shlock is on a progressive rock music site. I mean, even cotton candy isn't this sugary. "Forever in Blue" - These guys evidently bought into the record label's motto of "If it worked a decade ago it'll work again. Trust us." Sadly the suits were right but to my ears this is a vile piece of embarrassingly dated crapola. "Castles Burning" - An example of what happens when a pop act tries to get "heavy." It's extremely difficult for me to imagine anyone playing this for a friend and exclaiming "Isn't this FANTASTIC?" And, like most of the tracks on this record, it's about four minutes too long. "Don't Be Down on Me Baby" - Here's where they roll out their obligatory "bluesy waltz" number. I found it almost as entertaining as clipping my toenails. Neal Schon is an okay musician but he always comes off as an insecure lead guitarist trying to impress his peers with how fast he can play. That approach gets real old real fast.

"Still She Cries" - Perhaps if they'd made this an instrumental it would've provided me with a much-needed ray of light but no, they just had to turn it into a song only a lovesick 12 year old Daddy's little princess could relate to. "Colors of the Spirit" - Oh, great. Now I'm on safari with these jokers. I reckon this is their attempt to create a "world beat" sound but Perry's pasteurized voice makes that a mission impossible. Good grief, this is torture. "When I Think of You" - I can almost hear one of the band members saying "Hey, fellas, let's manufacture another clone of 'Forever Yours!' Cha-ching!" Um, somebody nudge me when this dull-as-a-butter-knife dirge is over. Or not. "Easy to Fall" - At this juncture it's almost as if they're intentionally parodying themselves. This is so awful it defies description. "Can't Tame the Lion" - This tune begs the question; "Don't y'all have any flavors other than plain vanilla?" "It's Just the Rain" - Deafening white noise would be preferable to this. I feel like I'm trapped in an elevator. Alone. Evidently they felt it necessary to add a lot of "stormy night" sound effects to make sure I "got" the theme. Segue into "Trial By Fire" - Who actually paid good money for this stuff anyway? Did Steve just warble the line, "Hello, Mister Moon?" Yes. He did. Just shoot me. "Baby, I'm Leaving You" - Enough already. They just had to go full pseudo reggae on their way out, huh? This is about as soulful as a Lawrence Welk YouTube video. Pitiful. Journey has no shame whatsoever. I'm definitely leaving. To go throw up.

Dig this, though. This CD made it to #3 on the album charts! What? And the syrupy "When You Love a Woman" not only rose to #12 on the singles chart, it was nominated for a Grammy! If you don't believe me look it up for yourself. In addition, three other singles culled from this album charted! Yark! That means a substantial amount of people actually missed Journey's hit- making monotony machine and welcomed them back with um, open arms. If there's a bright spot to behold it's that this was the end of the Perry period. Seems he broke a hip in Maui before the support tour began and that forced the band to cancel the whole strolling-down-the-volcano thing they had planned. Bummer. It would've been neat-o. As I indicated earlier, if this is your cup of tea then be my guest. Dive in. Stay in. As for me, I'd rather hear fingernails scraping down a chalkboard. No stars.

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 A Moon Shaped Pool by RADIOHEAD album cover Studio Album, 2016
4.07 | 159 ratings

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A Moon Shaped Pool
Radiohead Crossover Prog

Review by DamoXt7942
Forum & Site Admin Group RIO/Avant/Zeuhl & Neo Teams

4 stars A UK outfit RADIOHEAD have changed their expression and impression every time they released an album, but they have kept upon their identified anacatesthesia and pessimism via production and voices mainly by Thom YORKE for over thirty years (or at least since their first album "Pablo Honey" was released in 1993). Their 9th album "A Moon Shaped Pool" could be felt not purely pop nor forcibly complicated but familiarity with anti-pop intensity. Every fan (like me!) who has been following them since their debut album launched would have looked forward to their creation, and he/she would not be betrayed also by this one I suggest. Various sound appearances can be heard here and there, which should drive us crazy - kinda killer one indeed. For them (especially Thom himself), either what is acoustic or how electronic ought to be should not be cared, and it's natural they represent what boils up in their inner space. Let me say this phenomenon might be their charm eternally.

Anyway we would not have come across such a combo who create "monotonous pop / rock" so frequently. Their mysterious monotonous melody lines have obvious auditory extension and variation. No multitempo nor tone change can be heard but enthusiasm and powerful intention for production always addict the audience perfectly. The first shot "Burn The Witch" or "Desert Island Disk" sounds hypnotically acoustic with definite comfort. The comfort might grow up along with Thom's flat voices I imagine. "Daydreaming" (as the title says) or "Glass Eyes" (as if fragile glass would break away) throws us into a sensitive dream in the afternoon, filled with their electronic agents. "Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief", I'm sure this be their masterpiece in this album, reminds me of their innovative, energetic and simultaneously delicate creativity that could be heard in "The Bends" or "OK Computer" a long while ago.

Cheers for their stubborn (!) music expression strategies and incredible taste kept for over thirty years. You're artists of genius.

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 The Following Morning by WEBER, EBERHARD album cover Studio Album, 1977
4.47 | 20 ratings

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The Following Morning
Eberhard Weber Jazz Rock/Fusion

Review by Warthur
Prog Reviewer

4 stars I'm not quite blown away by this one as I was by The Colours of Chloe, I think because by now Eberhard Weber had moved more away from the fusion-ish elements of that album into a more ECM chamber jazz style of almost ambient jazz. But that said, this whole ambient jazz thing works really remarkably well. Weber's double bass sonorously creates an aura of peace around itself which the other performers support with delicate, restrained performances. Not one to put on when you are in the mood for furious excitement, but if you want something a bit more meditative it could well hit the spot nicely.

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 Dogs Blood Rising by CURRENT 93 album cover Studio Album, 1984
3.87 | 13 ratings

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Dogs Blood Rising
Current 93 Prog Folk

Review by Warthur
Prog Reviewer

4 stars David Tibet followed up the epochal Nature Unveiled with this attempt to craft the early Current 93 sound into things resembling songs. A quirky range of influences is unveiled, with T.S. Eliot's The Waste Land being one of them (little voices interject here and there with bits of the poem or other similar-sounding phrases, much like the poem itself is written to suggest a babble of different voices speaking) and from a more unexpected direction, Simon & Garfunkel. (Specifically, "St. Peters Keys All Bloody" is an avant-industrial cover of "Sound of Silence".)

The centrepiece of the album is Falling Back In Fields of Rape, a prose-poem set to a dark industrial backing first recited by Steve Ignorant of anarcho-punk band Crass before we hear it recited by a child. A catalogue of horrors inflicted during wartime and dictatorship of all flavours ("fields of rape" being a double meaning for the rape-seed crop and... well. you've probably guessed the other meaning), the composition is a major thematic keystone of David Tibet's work, with snippets of the text appearing elsewhere in his work frequently. A portion of the lyrics became the words to a very different rendition from Death In June on the Nada! album, for instance, and the repeated refrain "In a Foreign Town, In a Foreign Land" (which far from distancing us from the atrocities makes us question whether they are really that foreign) would lend its name to a collaboration with famed horror author Thomas Ligotti over a decade later.

Whilst not quite the unflinchingly uncompromising vision that Nature Unveiled was, Dogs Blood Rising is still very dark territory indeed, but one which needs to be explored by those who wish to really unpick what was going on with David Tibet in the early 1980s.

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 Sphére by FAFARD, ANTOINE album cover Studio Album, 2016
5.00 | 1 ratings

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Sphére
Antoine Fafard Jazz Rock/Fusion

Review by Squire Jaco

— First review of this album —
5 stars As I write this review, only the "limited edition" cd is available. I liked Fafard's last three albums so much that I opted to spend a little more and get this limited edition before the general September release. I'm really glad I did.

This is a stellar album all around. The packaging is beautiful and the liner notes are informative. This has three additional tracks that the regular release does not, and they are similarly wonderful. And the production is just top notch, top notch. It almost sounds like a drummer's album, they are mic'd so perfectly.

Not a long review here, but rest assured that this is some of Fafard's best songwriting, and he complements it with two great accompanying musicians in Gary Husband and Jerry DeVilliers Jr., sounding much like Allan Holdsworth in spots. Fafard takes the lead enough to please all bass-lovers (e.g. yours truly), but doesn't steal the show from the whole band.

I've been handing out 4 stars to each of his last solo albums. This one deserves the full 5.

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 Unfolded Like Staircase by DISCIPLINE album cover Studio Album, 1997
4.26 | 330 ratings

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Unfolded Like Staircase
Discipline Symphonic Prog

Review by VianaProghead

5 stars Review Nº 80

When I wrote my review about their debut studio album 'Push & Profit' released in 1994, I said that I have received that album few weeks ago and that I hoped receive their second studio work, very soon. Unfortunately, I only got 'Unfolded Like Staircase' some months ago, and so and unexpectedly, only now it was possible for me to make the review of it.

Discipline is an American progressive group formed in 1987 by high school students Matthew Parmenter (vocals and multi-instruments), Jon Preston Bouda (backing vocals and guitars), Matthew Kennedy (bass) and Paul Dzendel (drums and percussions), in Royal Oak, Michigan. They had also another band's member, David Krofchock, who was the band's keyboard player from 1990 to 1993, and took part of their debut album 'Push and Profit'. Since the early days, the vocalist Parmenter and the leader of the band, made the band's live concerts changing elaborate costumes for each song, like Peter Gabriel usually did in the early days of Genesis and also as Fish did in the early days of Marillion. Because of that, usually, Discipline was often compared to Genesis and Marillion. However, the Discipline's music has also been compared to Van Der Graaf Generator, not because of their debut studio album 'Push And Profit', but because of their following work, this second studio album 'Unfolded Like Staircase'.

As I wrote before, Parmenter is the leader of the band and he usually writes all the songs on their albums. It also sings and plays several musical instruments like keyboards, violin, saxophone and orchestra chimes. Thanks to their great live shows, Discipline built up a good reputation in Detroit, which is very strange and curious, since this American region isn't usually influenced by the progressive rock music. So, in 1993 the group released their first album, and to support that album, the group toured the USA in supporting of various progressive artists and bands like Steve Howe, the Yes' guitarist, and Anekdoten, an excellent Swedish heavy progressive group, hugely influenced by King Crimson.

'Unfolded Like Staircase' is composed of four long pieces of music. It isn't at all a minimalist album, but it has a myriad of details and a constant development, coherence and balance in the whole work. In these things resides part of the personality of this musical work magnificently interpreted in a truly masterful way. This is an album with a work of exceptional composition. The music on the album has all the elements that characterized a very uncommon world. We have the drama, restlessness, darkness, delirium, tragedy, schizophrenia, but above all, it shows the amazing beauty that can be hidden in the darkest places into our minds. However, those influences reside only in the essence of the music. Both, voices and instruments, have very little to do with the finale style of the Van Der Graaf Generator's music. However, in my point of view, we can clearly see on 'Unfolded Like Staircase' several other musical influences from the 70's. When I listen to this album for the first time, I became completely astonished and amazed with so many different musical influences on only a single album or even only on a single track. I can clearly see on it two other very strong influences of the 70's, the influences of Genesis in the Gabriel's era and the influences of King Crimson in their first phase. By the other hand, I can also see some more recent musical influences on the album. Those influences are the neo-prog influences, particularly from the excellent neo- prog British band IQ. If we think a little bit about it, this last musical influence isn't as strange as it seems. The neo- prog style isn't so different from the symphonic style. If you compare Genesis in the era Gabriel and Marillion in the era Fish, you see what I mean. Anyway, the solo musical career of Parmenter fits perfectly well into this musical style. I also strongly recommend the Parmenter's solo musical career.

Conclusion: When I reviewed 'Push & Profit' I said that I became surprised, because I expected that the music of the band was more surprising, strange, aggressive, improvised and complex, like Anglagard's music. However, after listen to 'Unfolded Like Staircase', several times, I completely changed my opinion about Discipline's music. In my humble opinion, 'Unfolded Like Staircase' is an album completely different from 'Push & Profit'. This is an album much more mature, complex, aggressive, surprising and totally progressive, with dark lyrics and also with a dark theatrical musical atmosphere. 'Unfolded Like Staircase' is really an astonishing progressive album, and I'm completely amazed with the quality produced by them on it. Sincerely, I'm really surprised with so many different musical influences on a single album or on a single track. I agree with Easy Livin when he says that this is a band with their roots firmly in neo-prog, especially due to the influences of IQ. By the other hand the influences of Genesis in Gabriel's era, King Crimson in their first phase, and of course Van Der Graaf Generator, are very strong, indeed. So, 'Unfolded Like Staircase' is a truly masterpiece and one of the best albums released by one of the most amazing bands that emerged in the 90's.

Prog is my Ferrari. Jem Godfrey (Frost*)

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 A Sequence Of Moments by FERGUSON, ALI album cover Studio Album, 2016
4.00 | 2 ratings

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A Sequence Of Moments
Ali Ferguson Crossover Prog

Review by Kingsnake

4 stars Really gorgeous and soothing neo-spacerock. I had never heard of this artist, but he does a great job in recreating what Pink Floyd did so well.

Long songs/compositions with an emphasis on creating soundscapes and atmoshere to daydream. The production is very clear and open. The vocals are very good and not all irritating. Maybe because most of the songs are with two voices (male and female). The drums are programmed, but you can't hardly hear it, they sound very human/acoustic.

The guitar sounds somewhat like David Gilmour. The music itself is reminiscent of Pink Floyd, RPWL, (soft-) Porcupine Tree, Airbag. The compositions are not very progressive, don't expect polyrhythms, lots of solos etc. The music is more meant to be dreamy and atmospheric.

The artist is categorized as crossoverprog, but I think it's more spacerock (like Pink Floyd and RPWL).

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 Dreamer / Bloody Well Right by SUPERTRAMP album cover Singles/EPs/Fan Club/Promo, 1974
2.76 | 9 ratings

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Dreamer / Bloody Well Right
Supertramp Crossover Prog

Review by Matti
Prog Reviewer

3 stars After two unsuccesful and uneven albums SUPERTRAMP released Crime of the Century, which is regarded as their finest work, at least in the prog circles (the more commercial world probably favours the bestselling Breakfast in America, 1979). The 1974 album was excellently produced by the legendary Ken Scott, who had worked with e.g. David Bowie and Mahavishnu Orchestra.

This is a typical single, both tracks taken from the album and representing its more hit-oriented material. Roger Hodgson's 'Dreamer' is a charming and very energetic song in a fast tempo, with a slower mid-section featuring also Rick Davies' vocals in a dialogue-like manner. The electric piano sound that colours the whole Crime of the Century is extremely dominating on this one.

Rick Davies composed the more bluesy 'Bloody Well Right' which I don't enjoy as much; it's the heavy repetition of the boring chorus that annoys me a bit. Together these songs are almost like Supertramp in a nutshell, with both unique songwriters represented. Except that of course the more progressive tendencies and the emotionally deeper songs are to be found elsewhere on that album.

Good, but totally non-essential for the album oriented listeners.

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 ELI (with Kaz Lux) by AKKERMAN, JAN album cover Studio Album, 1976
3.83 | 37 ratings

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ELI (with Kaz Lux)
Jan Akkerman Jazz Rock/Fusion

Review by BunBun

5 stars "Because You're a Fly, Fly, That's Why"

This is an incredible album. I discovered this album through Jan Akkerman, who is, in my opinion, one of the greatest guitarists. He has a completely unique sound that is full of life. I had no idea who Kaz Lux was before I came across this album, but boy, this guy has one incredible voice which elevates this album from great to masterpiece. Each piece flows beautifully from one to another and feels apart of a cohesive whole.

I'm no expert in music, so bare with me. I really don't know the story behind this album but it comes across as a loose concept album about a man named Eli, and that is about all I got for ya. The album starts off with Lux's excellent vocals on 'Eli' and the music really doesn't kick in until a couple of minutes in, and even when it does, it is quite subtle. 'Guardian Angel' is a bit funky and jazzy, and 'There He still goes' is a bit disco flavored. Then tracks like 'Wings of Strings' and 'Fairytale' are quite ambient for me. Lux delivers his lyrics with such enthusiasm that I often find myself repeating them long after the album has shut off, trying my best to imitate his exact pronunciation of lines such as "Pur-fec-tion" and "Eli, Please." Overall, you won't find any display of technical virtuosity. There are no crazy guitar solos, no tony Bank like synths, no ten minute plus epic to munch on. In fact, this album focuses more on moods, and it is quite quirky. Some of the lyrics Lux sings might come across as rather odd like when he begins to recount a time when he killed a fly. "Yea, I've been watching a fly die. He didn't know why he had to die," yet it completely works. The best way to describe this album is subtle. The music is lush, surprisingly minimalistic (not to be confused with pop) yet never boring.

This is a masterpiece in my eyes. I love it from start to finish and there is something quite profound hidden within its quirks. The standout tracks being 'Eli' and "Naked Actress.' Please, give this a listen.

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 Anchor Drops by UMPHREY'S MCGEE album cover Studio Album, 2004
4.13 | 70 ratings

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Anchor Drops
Umphrey's McGee Crossover Prog

Review by aglasshouse

5 stars If Umphrey's in 2002 was considered doing OK, then Anchor Drops is doing fantastic. This album's a bit of a tie for loose ends hanging out on the prior album, ironing out most of the amateurism and lack of focus that was at all featured on it. The variety of unique instruments don't over-exert themselves and become cluttered nearly as much, giving the band a renewed sound of a seasoned progressive jam band. The dilettante voice of Brendan Bayliss (like on 'In The Kitchen' and 'Walletsworth') derives a particularly organic feel from the album, and even more interesting when juxtaposed with the complex percussions of Andy Farag and Kris Meyers. The band even strikes a few heavy chords every one and awhile, evoking a powerful presence that it doubtless better when enjoyed watching them do it in action.

Anchor Drops marks a point for the band as an indication of their moving away from their influences and becoming their own unit. All I can say is, godspeed!

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

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

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