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 Hounds of Love by BUSH, KATE album cover Studio Album, 1985
4.10 | 262 ratings

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Hounds of Love
Kate Bush Prog Related

Review by ProggyDon

3 stars Like everyone else I'm currently caught up in Kate fever and in preparation for the shows I've been trawling through the likely material we'll be hearing live. She has produced some great pop, ballads and even prog but I'm sorry to say I just don't get the euphoria surrounding this album. Yes, it's good and it has some interesting ideas, but not any really memorable melodies. I'm all for experimentation and innovation - ironically it's what a lot of prog albums are sorely lacking - but it has to go hand in hand with strict quality control. Not all 'interesting' albums are necessarily good.

It's odd, this is one of those albums that is revered by everyone I know, it's treated with a 'holy' respect, and disrespecting it is a mortal sin! Yes that's a bit over the top but you know what I mean? I know I'm in a real minority here, but for me this is Kate Bush without the songs, or at least any recognisable song structure. I don't get The Ninth Wave - it feels so piecemeal to me, and Running Up That Hill is just a one line melody repeated endlessly!

Love Kate Bush and the fact that she's never been afraid to try new things, I'd just like a few hummable tunes on the Hounds of Love.

Phew, that was good to finally get off my chest

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 Tyranny Of Beauty by TANGERINE DREAM album cover Studio Album, 1995
2.89 | 38 ratings

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Tyranny Of Beauty
Tangerine Dream Progressive Electronic

Review by Stalvern

1 stars

Probably the worst of all Tangerine Dream albums, and one of the worst things that I've ever heard - the mid-'90s were a real dark age for Tangerine Dream, and Tyranny of Beauty is its nadir. The band certainly needed to move on from the dull muzak of the Private Music albums and Rockoon, but while this new period brought back a measure of the ambition that had deserted the band with Christopher Franke, that ambition was now applied in the most perverse of ways.

In their golden years, Tangerine Dream explored the furthest reaches of synthesized sound; at the close of the '80s, they contented themselves with cheap, generic keyboard tones; here (and, to a lesser degree, on the preceding Turn of the Tides), the focus has switched completely to guitars, all but burying what rudiments of electronics remain. This is hardly a problem in itself - Edgar Froese's icy, airy solos had been highlights on some of the band's best works - but the greasy, histrionic playing here abandons all taste and class, spewing out endless solos as indulgent as Frank Zappa's and as showy as David Gilmour's without the sense of either.

The album opens with "Catwalk", its lone highlight and incidentally the least guitar-oriented of its songs. It's trivial stuff and painfully outdated, sounding almost like a turn-of-the-decade Madonna backing track (think "Vogue" or "Deeper and Deeper") even as it flagrantly samples the leading-edge sounds of Underworld's dubnobasswithmyheadman, but it does boast a decent amount of energy, a comparatively light mix, and a genuinely impressive acoustic guitar solo in the middle. Unfortunately, things take an immediate nosedive afterward; the next piece, "Birdwatcher's Dream" combines sappy chord changes with The Wall-wannabe arpeggios and features an ugly, '80s "snap" sound in its climax, and it's only the start of the truly rotten material on here. "Little Blonde in the Park of Attractions" is one of the worst tracks on the disk, with the loudest, shreddiest guitar work and cheesily "dark" drumbeats near the end, and "Living in a Fountain Pen" (God, these titles) is a fitting neighbor, with a schlocky, "folk-style" acoustic section and toothlessly "tough" distorted power chords elsewhere. But the most offensive moment is easily "Stratosfear 1995" - an absolute travesty that takes a Tangerine Dream classic and smothers it under a leaden "rocking" beat, blaring hair-metal guitars, and lazy new beep-boop synthesizer tones, with the original song still audible, crushed and helpless, beneath it all!

After that, things start to calm down, and the album blends together in my mind as a haze of lower-key ramblings against more ignorable backdrops, although the early-'90s "dance" piano line and bongo drums in "Bridge in Cold Tears" (not "Bride", as it so happens) linger unpleasantly in my memory. Eventually, it ends with a slow Händel piece, featureless and spiritless (the "string" pads seem to have been deliberately set to sound as cheap and unconvincing as possible, though the clarinet is nice), but a pleasant enough way to wind things down. I can't decide whether to praise it more for its composition or damn it more for its performance, but it's the first enjoyable thing here since "Catwalk", for what precious little that that's worth. Finally, some releases of the album add a contemporary B-side called "Quasar" as a bonus track - I looked it up on YouTube, and it's a perfectly generic techno thumper, which inherently makes it better than almost everything on the album proper.

Speaking for both Tyranny of Beauty and Turn of the Tides - I don't plan on sitting down to review more than one of these stinkers, and this one was the more satisfying target - I can see why these albums got made; after the lightweight facelessness of stuff like Optical Race and Melrose, Froese was probably itching to get back into more substantial territory. But why in this way? Electronic music was the biggest that it had ever been in the mid-'90s, and not just club music, but ambitious stuff in the spirit of what Tangerine Dream had built their name on - when even a "dance" band like The Orb could get away with recording something as sprawling and atmospheric as Orbus Terrarum, the time for a Tangerine Dream comeback was clearly ripe. Even the band themselves must have understood this, as the Underworld samples here prove that they were keeping up with current electronic developments. But, incredibly, they threw that opportunity away, and this sorry music is the consequence.

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 Free Hand  by GENTLE GIANT album cover Studio Album, 1975
4.26 | 997 ratings

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Free Hand
Gentle Giant Eclectic Prog

Review by aglasshouse

4 stars It's ironic that this album is my favorite GENTLE GIANT album, seeing as it was the most popular in the US due to it's accessibility upon release (and I'm from the US.) That is not why I like this album so much, however.

After listening to all of GENTLE GIANT's albums, I had to pick this and IN A GLASS HOUSE as my two favorites. Seeing as this is GENTLE GIANT and not some other bands I like, I don't care about the heaviness in the music. Instead, I care about composition and it's value. This album has perfect of both.

Instead of having an even mix of softer and harder rock tracks, this album has songs that mix those two sounds. So instead of this sound being split between songs, it is now combined in the composition of the tracks.

'Free Hand' and 'Time To Kill' are jazzy and just awesome to listen to while doing anything. Other songs such as 'Just The Same', 'His Last Voyage', and 'Mobile' all deserve this spot too, but I honestly like the first two the best. 'Talybont' and 'On Reflection' are great, happier tunes.

My only problem that has been recurring throughout my listenings of GENTLE GIANT is that it is hard for them to change from their bouncy, happy feel. This gets degrading after awhile while waiting for some darker change for a little bit of variety. Not lackluster, just slightly annoying sometimes.

I recommend for anyone starting out with GENTLE GIANT to pick this one up right away.

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 Chronicles by RUSH album cover Boxset/Compilation, 1991
3.60 | 86 ratings

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Chronicles
Rush Heavy Prog

Review by aglasshouse

4 stars Chronicles is one of the few compilations by Rush that is not a Retrospective. Being released right before the album "Counterparts", it wasn't able to include many more recent hits, from albums like "Test For Echo" or "Clockwork Angels".

The compilation includes all necessary hits from albums, from "Rush" to "Presto". There are usually two hits per album on the compilation, with the exceptions of the hits from "Moving Pictures", which includes 3, probably due to the fact that "Moving Pictures" was made up entirely of hits, and it wasn't enough to only add two to the compilation. Also, "Presto" only gets one song, most likely due to the album not being as popular as the others. Also, "Rush", their self titled, also includes three tracks, two of which are studio, the other being a live performance. Another 3 track inclusion was "Power Windows", which again included two studio songs and one live song.

Live songs are also included in the place of studio recorded songs, for instance on disk two, 'Mystic Rhythms' from ", which is performed live on the track. Other live tracks include 'A Passage to Bangkok, from "2112", and 'What You're Doing', from "Rush".

This compilation is definitely a great introduction to Rush, from 70's to 80's. I suggest to any person wanting to get involved with Rush to buy this compilation as their first purchase. If it appeals, you have the freedom to get the full albums. Overall, an amazing compilation for any fan of musicianship mastery by Rush.

(Review originally made for the Metal Music Archives on August 1st, 2014)

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 Undertow by TOOL album cover Studio Album, 1993
3.11 | 388 ratings

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Undertow
Tool Experimental/Post Metal

Review by aglasshouse

4 stars "Undertow" is the debut album by the American progressive/alternative metal band, Tool.

The full - length debut album is said to have kept the life of all heavy metal in the mainstream media due to it's success. "Undertow" is also the cause of Tool's undeniable later success, being that their debut EP, "Opiate" was not as highly regarded, and did not get them critical reception. Although Tool's later albums, including "Ænima" and "Lateralus", Undertow still remains one of the most highly regarded progressive metal albums of all time.

1. Intolerance

Opening up the album is the first track, 'Intolerance'. The song starts with quiet swooshing synth noises, until the heavy guitar riffs come in to take the stage. The vocal value takes a slight decline in the beggining, ranging from too weak to way too over the top, but the chords and riffs remain excellent throughout. The track gets faster in the middle of the song, and a great heavy bridge leads to the end of the song. A More weak track from the album, but still great. (8/10)

2. Prison Sex

'Prison Sex' is the 2nd single from the album. Starting out with metallic noises, the song amps up with some fast and heavy guitar chords. The bass is getting more and more noticable as the album progresses, however the drums are getting less noticable. The vocals are slightly too loud over the other instruments, but are still great. The song is noticably more heavy, and gets more instrumental time. And the vocals are also in a good key. A nice track from the album. (9/10)

3. Sober

'Sober' is the first single from the album, and also the most highly regarded. The song starts out with an extremely heavy bass chords, and an amazing drum riff leads into the main song. As the song progresses, the drums, bass, and guitar all seem to work as one instrument, and shift into separate ones during the choruses until inevitably joining up again. The vocals are absolutely spectacular in this song, and very nice to the ears. Unlike other songs from the album, 'Sober' is able to be listened to at any time, in any mood, and in any place. Amazing song, and my favorite from the album. (10/10)

4. Bottom

A more subtle and heavy track then it's former songs, 'Bottom' takes the third track on the album. There is no slow moments in the song- in fact, every part of the song is nice and constant. Changes are done when they are needed, and the riffs remain heavy. The drumming is nice and catchy, however the bass is less noticable. A nice, catchy song. (9/10)

5. Crawl Away

Starting with the faint sound of a band playing, 'Crawl Away''s guitar quickly comes in at a fast pace. As the guitar continues, we are suddenly blasted with heavier riffs then we are used to. The guitar remains in the lead, until the bass ultimately takes over. The song is an awesome battle between bass and guitar, while the vocals and drums are taking over the backround noise. An amazing song, and definitely one of my favorites. (10/10)

6. Swamp Song

'Swamp Song' brings us an almost completely instrument ruled song. The lyrics seem to just blend in with the instruments so much it doesn't seem to be there, just adding to the noise. However, this does not make the song un-enjoyable. In fact, it makes the song have a certain flow, giving it a nice, catchy feel. Another great song from the album. (10/10)

7. Undertow

Unlike the other heavy songs on the album, 'Undertow' seems to just have a more dulled down version of the chords. In fact, the production they used seems to be the same they used in 'Sober'. Except in 'Sober', it fit in well. In this song it seems oddly misplaced. Besides that, the vocals are nice and vivid, the drumming and guitar are great also. The lack here is the base, it just seems to be alongside the drums and not playing it's own part. (8.5/10)

8. 4 Degrees

'4 Degrees' is another vocal dominated song, just like 'Undertow', and the other instruments seem to be backround sounds in some places. Unlike 'Undertow', the bridge is absolutely excellent, however the song starts to get quite repetitive. Not much else to say about it. Great, but not the best. (9/10)

9. Flood

A slower track, with more drum and guitar domination, 'Flood' comes in with nice echoey vocals, and nice heavy chords. Where the song has it's errors is that the bridge drags on too long. The bass is the only upside to keep you interested during it. The vocals are basic and sort of bland, until the chorus, which is an excellent piece of Tool vocal work. A nice, but slightly weak song. (8/10)

10. Disgustipated

I don't even know what to say about this finale. Should it even be considered music? I think it is a great work in experimenting with different sounds, but definitely not something to close out nice heavy album like "Undertow". It is an absolutely useless symphony of weird echoey sounds, sheep, radio voices, whistles, and hammers. Not to mention- this song drags on for (15:47). That is just to long for a song that is mostly dominated by annoying mind bending whistles. Other than the whistling, the song has less than a minute of nonsensical lyrics and random sound beats. An awful droning, repetitive ending to the album. In fact, it got so annoying that I couldn't even listen to it anymore. Definitely not worth listening to. (2/10)

Overall, Tool's debut album was definitely the cause of Tool's undeniable rise in popularity. And we can all agree, "Undertow" saved metal's asses when it was starting to fall in numbers of listeners. All later and greater albums have to give credit to "Undertow", for making it possible for Tool to continue on what they do best-make metal music. (Originally written for the Metal Music Archives on August 4th, 2014)

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 Autotheism by FACELESS, THE album cover Studio Album, 2012
3.36 | 19 ratings

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Autotheism
The Faceless Tech/Extreme Prog Metal

Review by Conor Fynes
Prog Reviewer

2 stars 'Autotheism' - The Faceless (41/100)

Above anything else, The Faceless' Autotheism is a problematic album. I did enjoy Planetary Duality quite a bit, and there are plenty of moments on Autotheism that recall The Faceless' past achievements. The central style finds itself at a crossroads between modern tech death and Dream Theater-variety progressive metal; the mention of that combination alone should spark some doubts, but The Faceless can, and often do make it work in their favour. Having just recently seen them headline the 2014 Summer Slaughter tour with the likes of Archspire, Rings of Saturn etc., there's no doubt The Faceless can bring it to the table in terms of sheer technical instrumentation. The guitars entwine excellently with Lyle Cooper's drumwork, and the guitars navigate the album's more challenging parts with style. That's not what's wrong with Autotheism.

I usually love it when bands put a progressive, or unexpected swing on a genre like tech death- most of the time it gives the music a tinge of spontaneity that may have otherwise been lost in the sea of sweeps and robotic notation. The Faceless have certainly made themselves out to be a band who takes the road less travelled in terms of technical death metal. Allusions to Dream Theater, multi-part epics and clean vocals are all well-off the beaten path for the style. It should by all means work, but by the end of Autotheism I'm left thinking like the album might have been best contained within the tech death sphere. The Faceless remain good at what they know, but whenever there's a detour, the vision feels undercooked.

There's no better example of this than the multi-part suite and title piece. In keeping with the other less-successful prog epics I've heard, "Autotheism" offers up some interesting ideas, but ultimately falls apart under its own weight. There is ambition but no coherence, nothing to congeal the epic together as a definitive musical statement. If a band is intent on devoting a third of their album to a composition, I would hope I would leave it with a strong impression of the band's sound. After a pseudo-orchestral overture, The Faceless proceed to follow the footsteps of metal genius Devin Townsend's style for several minutes (clean vocals and all) before finally diving into the prog death they're most comfortable with. As much as I love Devin Townsend, any imitators (of which there are several) I've heard fall far short of what they no doubt set out to accomplish. Devin's style was exciting because it was completely his. In the case of Autotheism, The Faceless seem to cling to their interpretation of his style, not least obvious of all being Michael Keene's halfhearted clean vocals, which seem kept afloat only through a mountain of harmonizing and post-prod effects. By the suite's second movement, things begin to pick up and we hear some good riffs, but it's not long before the suite reverts back to the same plodding pace and weak prog cliches.

Particularly in the third movement "Deconsecrate", it becomes obvious that The Faceless lack the personality and sincerity to pull off a lot of these progressive sections. Hearing the band perform their Townsend facsimile felt disingenuous enough, but the weirdest moments- most notably being a carnivalesque section wherein Keene croons "God is dead"- feel forced and joyless, as if The Faceless suddenly became aware they were taking themselves too seriously, but couldn't get themselves out of a rut in time before the epic finished. On the topic of serious things, it doesn't seem like The Faceless think atheism is any joke. They remind us of this stance in virtually every song and- all beliefs aside- their way of handling the subject in their music is possibly the most awful thing about the album. Whenever they're not depending on worn expressions and cliches in their lyrics, they're preaching some holier-than-thou New Atheist sanctimony that makes Christian rock look tolerable by comparison. I'm all onboard with iconoclasm and supposed free-thinking, but The Faceless' ideology seems to be directly in line with the "In this moment, I am euphoric" brand of online atheist crusaders who, I can only imagine, polish their Richard Dawkins and Christopher Hitchens shrines in between bouts of cosplay internet porn. My own views on religion (or, more specifically, the hypocriticism of New Atheism) certainly paint this element of The Faceless in a more negative light than it may be for others, but take a track like "Hail Science" (kill me now), an interlude not unlike Radiohead's "Fitter Happier", only with an extra helping of cringeworthy anti- religious sentiment. From this and other sets of lyrics, I get the impression that The Faceless (like many of the fedora-bound internet gremlins you'll find lurking on the forums) place the blame of all human ills and indecency on religion and belief in a God that doesn't exist. If The Faceless agree with me that God is most likely a fabrication, then they should also acknowledge that it must be somewhere in human nature itself for people to do these [&*!#]ty, ignorant things to one another. If God is truly dead, then we have only ourselves to blame.

At the album's best, Autotheism flirts with better-than-average tech death riffery and suggests some great potential in the prog metal sector as well. Each time I've finished listening through the album however, I can think of more problems I have with the album than things I enjoyed. If I may be diplomatic here, it's clear that The Faceless took a big risk in putting so much of the album aside to jump outside their shell and explore musically. That achievement feels dull in context when it ultimately just appears like they've jumped inside another shell, of a more uncompromising and visionary artist than they themselves are. The songwriting is generally bland and forgettable, and the concept is idiotic. I never thought I'd say this, but give me straight up tech death over this any day.

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 Paranoid by BLACK SABBATH album cover Studio Album, 1970
4.25 | 657 ratings

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Paranoid
Black Sabbath Prog Related

Review by arthuredson

5 stars Everybody is bloody good in this album! I mean, the riffs are so dark and strong, the bass and the drum have an awesome chemistry, letting Tony float in the solos and letting Ozzy sing the powerfull lyrics. War Pigs is a piece were we see the dynamics that are going to apear in every song on the album. Paranoid, the title track, is a little bit weaker than the rest of the songs in the album, but, along with Communication Breakdown, is a important proto-punk/bang-your-heads song. Planet Caravan is an interesting piece, kind of dark ambient song, with the vocals that seems to be influeced by the delta blues singers. Iron Man has catchy riffs and... need I say more about this masterpiece? Electric Funeral transfer awesomely the felling of the lyrics through the intrumentals. Hand of Doom is my personal favorite, with all the dinamics, the solo, the lyrics. All fit so well together in this song. Rat Salad is a mini jam, power trio-wannabe, which contains awesome riffs, guitar and drums solo. Fairies Wear Boots is a decent ending for one of the best albums ever made in all the heavy metal.

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 Castle of Noi (Noi no Shiro) by HIRAYAMA, TERUTSUGU album cover Studio Album, 1983
3.44 | 8 ratings

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Castle of Noi (Noi no Shiro)
Terutsugu Hirayama Symphonic Prog

Review by Mellotron Storm
Prog Reviewer

3 stars I first became aware of this album when Greg Walker from Synphonic Music sent me a list of his all- time favourite albums, and of course this was part of that list. I've had this for a couple of years and to be honest it just isn't my style of Prog. Very symphonic which is good but it's the orchestral moments that turn me off along with all the ELP-like bombast that makes me squint a lot. This is the project of Terutsugu Hirayama who is from Japan and is very talented at not only playing the guitar but at composing music as well.

This is a concept album by the way and it starts with "Opening And Main Title" a less than 2 minute orchestral intro to "Mystic World" which thankfully is more of a "rock" tune with some aggressive guitar. It changes before a minute with female vocals. Not a fan of her style but the contrasts will continue. The guitar is amazing but this is too bombastic for my tastes. "Nelfelti" has accordion and weird male and female vocals. The latter are operatic. Some strange vocal melodies as well. Not a fan. "A Boy And Soldier" is very orchestral with the guitar playing over top. "The Scene" opens with piano and reserved male vocals for about 2 1/2 minutes then it turns dark with sweeping synths. Nice. Back to the piano a minute later. At 4 1/2 minutes that dark mood with synths returns. It turns symphonic late. Good tune.

"Teles Pheres Maris" is divided into two parts. This sounds really good early on. Some heaviness here as the male vocals join in. Check out the guitar solo 2 1/2 minutes in. The keyboards are really good as well. This is my favourite song on here. "Castle Of Noi" is the almost 11 minute closer. It's divided into 4 parts. It's orchestral early on then female vocals arrive as drums, bass and synths help out. Not a fan really but I do appreciate how upfront the bass is on this release. The vocals stop as it becomes bombastic with guitar and some strange goings on. It settles back then picks back up. A calm with piano 8 minutes in then the orchestral keys(think SATELLITE) lead before the song ends.

Cetainly many consider this a classic but this just doesn't do a lot for me despite the obvious talent that went into this. If you love lots of keys and bombast this is worth checking out.

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 Для тех, кто видит сны. Vol.1 / Dlya Teh, Kto Vidit Sny Vol.1 by ORGIYA PRAVEDNIKOV album cover Studio Album, 2010
3.21 | 11 ratings

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Для тех, кто видит сны. Vol.1 / Dlya Teh, Kto Vidit Sny Vol.1
Orgiya Pravednikov Eclectic Prog

Review by Progrussia

3 stars Despite their playfully oxymoronic name, Orgy of the Righteous take themselves and their spirituality very seriously, with just one exception, a russian musketeers/vodka anthem, showing that it's sometimes beneficial not to be too somber. This is russian epic folk/hard rock, enriched with flute, strings and even some ska sounds. And is that a death growl I'm hearing? What I like is that songs are not repetitive, with only things repeated are usually the things worth repeating. Production is loud and clear. Compared to previous album, there is more of an effort to write some catchy melodies, but a lot of this still sounds like dramatic verses recited over a background melody. Little instrumental fanfare.

This isn't exactly a staple of russian prog - a genre not quite booming, I'm afraid. But it could of some interest for those interested how rock sounds with a russian flavor. Not the silly balalaikas and gypsies stuff, but with an existential bent.

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 Everybody Loves You by ANDERSON, JON album cover Singles/EPs/Fan Club/Promo, 1980
3.00 | 1 ratings

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Everybody Loves You
Jon Anderson Prog Related

Review by Guillermo
Prog Reviewer

— First review of this album —
3 stars Both songs of this single were taken from Jon Anderson`s "Song of Seven" album from 1980.

"Everybody Loves You" is a ballad or love song with very good "Classical Music" vocals arrangements at the start and at the end of the song, sung by Anderson with Christopher Rainbow. It also has a brief bass guitar solo played by John Giblin. This song is the first from the Side Two of the old LP, followed by "Take Your Time".

"Everybody Loves You" was previously recorded with YES during the failed recording sessions of the band in Paris in late 1979 with record producer Roy Thomas Baker. The arrangement of the version that Anderson recorded with YES was different, particularly without the use of the "Classical music" vocals arrangments, and sounded somewhat "unfinished" like other songs from the same recording sessions. YES`s arrangement was maybe more Prog Rock oriented. Anderson`s version is more simple and maybe more Pop Rock / New Age in musical style. But these differences maybe showed the reasons why Anderson and the band split in 1980. The other members of YES (particularly Steve Howe, Chris Squire and Alan White) wanted a heavier sound for the band, a thing they achieved in their YES` "Drama" album in 1980, which was recorded without Anderson and Rick Wakeman. Anderson tended then to write more "soft" songs which maybe were not very liked by the rest of the members of the band (with the possible exception of Wakeman who left the band at the same time Anderson did it). So, Anderson re-recorded this song for his "Song of Seven" album, which sounds to me more like a "family life album" than anything else.

"Take Your Time" is another "soft" song with good lyrics and arrangements, but more simple than other songs that Anderson recorded with YES.

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Remaining cache time: 161 min.

List of all PA collaborators

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

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

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