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 XX by ARENA album cover DVD/Video, 2016
4.00 | 2 ratings

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XX
Arena Neo-Prog

Review by gringochucha

4 stars Paul Manzi is the best vocalist Arena has ever had.

I've been sick in bed for a week, so the fact that the new Arena DVD arrived in the mail today was a cause for celebration in a pretty crappy week. Being, as mentioned, sick at home, I put it in for a spin almost immediately, and I wasn't sorry. You see, I didn't get the last DVD because I was so disappointed with the Smoke & Mirrors one and I'd basically decided to only get the studio albums anymore. But when I saw that this one was going to have Moviedrome (one of my favorite songs ever) I preordered it immediately and here we are.

Enough of that; let's talk about the DVD. Understandably, the budget for the filming (once again in Poland) doesn't seem to have been very high. The lighting's pretty crappy and so is the resolution. The camera work is ok, but has the tendency to not show the musicians playing their solos, which can get frustrating. The thing is, from reading John Mitchell's Facebook posts, the tour doesn't seem to have been either very lucrative or particularly enjoyable for those involved (I'd pay good money to find out which Gentle Storm member apparently tried to kick them out of the shared dressing room...). From what I gleaned from John's posts, shows weren't very well attended and spirits were low, and you can kind of see this in the DVD ( (I personally couldn't make it here in Germany because the show was way too far away for me). The only ones that seem to be actually enjoying the experience are newcomers Manzi and Kylan Amos on bass.

That said, and having gotten the "negative" stuff out of the way, the performances on this DVD are generally top-class. Manzi shines both on his songs and on the classics. His voice is less whiny than Paul Wrightson's and more powerful than Rob Sowden's, with the power and drama of both combined. He barely misses a note here, and his rasp is also welcome. As mentioned, he adds some much needed energy and humor to the show, as the core of Clive, Mick and John smile maybe twice during the whole show between the lot of them.

The setlist is excellent. It took me a while to get into The Unquiet Sky, but the tracks from that album really shine here with Manzi. I'm actually sorry I didn't get the version with the CD, because now I want to listen to this concert on the stereo. Well, tough luck. After two very well played Visitor songs, we get to the long-awaited moment: Moviedrome on a live DVD. Up to now, the only live version was on the Breakfast at Biarritz album, and I always wished I could actually see it being performed. The one time I met Clive Nolan in Chile at a terribly attended Caamora show (seriously, it was pretty much me, my dad, and a few stoners), I asked him if he was ever going to play this live again, and he wasn't too optimistic. Luckily, as Clive explains during the concert, I wasn't the only one requesting it and finally they decided to record it for a DVD. Man, this apocalyptic masterpiece of a song has everything (including possibly Clive Nolan's best lyrics ever), and they pull it off admirably, even though you can tell they weren't as "at ease" with it as with the rest of the material.

At this point I have to say that the one guy who definitely isn't on top of his game here is Clive Nolan. John and Mick miss a beat every once in a while and John hits a few wrong notes, but mainly they're prett solid. Clive, on the other hand, doesn't really do a lot of his solos justice (Salamander?) and seems to have a lot of timing problems. I can't know what was going on while he was playing (bad monitor?) and anybody can have a bad night, but I get the impression that the maestro was kind of distracted. My two cents: The man has written so much great music, but unfortunately most of it is underrated and I can imagine it's not easy making a living playing progressive rock if you're not Dream Theater or Rush. But I digress and it's pretty ridiculous to try and psychoanalyse a guy based on his live show.

Back to the music: Manzi is excellent on the melancholic How Did it Come to This?, and the version of Bedlam Fayre is the best one I've ever heard (despite John's mistakes). It's weird for a song other than The Hanging Tree to follow Serenity, but The Unquiet Sky is a strong track with memorable vocal melodies and it's also sung flawlessly by Mr. Manzi. I'm really glad the mix on this album is good. You can hear everybody clearly (Clive Nolan was only miming on Smoke & Mirrors amirite?), and the harmony vocals by Nolan and Mitchell are very good and make you wish there were more a capella moments like when they sing "moving deeper into the land" on THT. Of course, John is an excellent lead vocalist in his own right. I have to admit I've been on something of a Lonely Robot/It Bites/Frost binge lately, and I can't help getting the impression he's happier on those projects than here. I mean seriously, the guy looks downright miserable at times here. But again I digress. Luckily he's a pro and his chops don't suffer.

Next, another one of Arena's great classics, The Hanging Tree, is performed beautifully. This song and John Mitchell's solos are so freaking good; I could listen to this all day. Next we get the only 7th-Degree track on the DVD: The Tinder Box. It's generally considered one of Arena's weaker albums, so it's not surprising they focused on other material. The song is really good, though; nice and heavy.

I have to admit that I skipped Solomon. I mean, it's good, but since I'm a "post-Visitor" fan and I only listened to the first two albums later I don't have that nostalgic obsession some Arena fans seem to have with the track. "Don't forget to breathe" (what's with the capitalization?) is a concert favorite for a reason and Manzi dons the customary top hat for the piece.

Of course, there are dozens of songs I could have wished to have seen on this DVD, but with Arena there's definitely a lot to choose from, and I think they put together the setlist very well. If I were rich I'd pay them to drop Solomon and play Opera Fanatica on their next tour (something I'm sure they'd be loathe to do considering the amount of work it would probably take to arrange and rehearse it). The DVD finishes as usual with the catchy "Help Me Heeeeelp Me Whooooaoaoaoa Help Me" (also known by its more boring title Crying for Help VII). This song's a friggin ear worm as the krauts say. It'll stay in your head for days.

All in all this DVD is a must for fans of the band. If you're not one then you probably stopped reading this a long time ago anyways.

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 Live Boston '88 by 3 album cover Live, 1988
2.00 | 1 ratings

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Live Boston '88
3 Crossover Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

— First review of this album —
2 stars From the life

After Emerson and Lake had done an album a couple of years prior with Cozy Powell replacing Palmer, it then was Lake's turn to take a break from the band. In stepped Robert Berry. Since Berry's last name doesn't begin with the letter "L" the ELP moniker could not be maintained this time and they opted for the shorter "3" as their band name. They released their only studio album under this name entitled To The Power Of Three in 1988 and then embarked on a tour. The present live disc documents a show recorded in Boston.

Interestingly the set list is as if Lake had never existed and we do not get to hear Berry sing any song that was originally sung by Lake. There are several classic tunes with which all ELP fans will certainly be familiar, but they are all instrumentals and written by others, such as Leonard Bernstein's America, Dave Brubeck's Rondo (both originally adapted and performed by Emerson in The Nice), Alberto Ginastera's Creole Dance, and Aaron Copland's Fanfare For The Common Man and Hoedown.

With the exception of Standing In The Shadows Of Love (another cover song I believe), the rest of the set list consists of songs from To The Power Of Three album. All but one of the eight tracks from that album are recreated in this live concert. The best of these is definitely Desde La Vida ("meaning from the life", as Emerson explains to the audience), a three-part epic mainly written by Emerson with some help from Berry and Palmer. This is the most progressive song from To The Power Of Three and it is performed here in a slightly elongated version compared to the studio counterpart. Another good song from that album is On My Way Home written by Emerson.

Songs like Talkin' Bout, Runaway, You Do or You Don't (all written by Berry alone), and Lover To Lover (co- written with Emerson and Palmer), are rather straightforward melodic Rock songs with catchy choruses and little or no surprises. These songs brought the studio album down and they do not enhance this live album either. The show ends with Eight Miles High which is a Byrds cover.

Overall, despite some really good moments, this live album fails to be a sufficient improvement over the To The Power Of Three studio disc to deserve a higher rating. The concentration of songs from that album is too heavy and there is too much focus on material written by other people.

Recommended primarily to ELP fans and collectors.

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 The Henge  by MOORE, STEVE album cover Studio Album, 2007
3.09 | 3 ratings

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The Henge
Steve Moore Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

3 stars An unexpected convergence of different influences gathered around a kind of cinematic musical language full of attractive melody lines, catchy hooks and creative arrangements.

Steve Moore's "The Henge", 2007, may refer you to Tangerine Dream, Vangelis, J.M. Jarre, Yello and Klaus Schulze. As such this release would not be that relevant, as many other prog/electronic musicians share the same line of influences, yet the real deal is , as mentioned, his surprising detours in style which enrich these same influences, as well as merge them into multi-dynamic single structures, perfectly threaded by its unique music composition.

The album opens up with a dramatic mode, close to Vangelis movie scores, yet from the start one can sense that his admiration for his influences has been well absorved and his ability as a composer overshadows mere repetition of those musical idioms.

From then on the display of of his songwriting turns on a fair share of highly emotional momentums and truly engaging electronics, as it turns toward different moods without losing his own perspective. My single objection for rating this work 3.5 stars instead of 4 will be its last composition "Cepheid" whose first part really sounds like a TD copycat, although saved entirely by its second part which outshines and makes quiet irrelevant its prior section.

Anyway, do not miss, expect an above average, closer to essential aquisition.

3.5 PA stars.

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 Addicted (Devin Townsend Project) by TOWNSEND, DEVIN album cover Studio Album, 2009
3.85 | 284 ratings

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Addicted (Devin Townsend Project)
Devin Townsend Experimental/Post Metal

Review by RainingStigmata

3 stars This album is the one that got me into Devin in the first place. There is really not a lot to it though. In fact, this would probably be his most accessible album to date.

Short songs, fun grooves and a general feeling he is paying out popular music, Devin and Anneke nevertheless take us on a journey of great musicianship and vocal skill. Though I wouldn't necessarily call any song here "prog" and hence the rating, it is still a great release from the modern master.

Highlights include the title track, Bend It Like Bender, Hyperdrive and In-Ah. In usual Devin Townsend vein, listen to the music, vocal and composition ability, stay for the cheesey smiles and fun that this album will no doubt bring.

3 and a half stars, rounded down due to the "prog" parameter.

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 The Retinal Circus by TOWNSEND, DEVIN album cover Live, 2013
4.76 | 36 ratings

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The Retinal Circus
Devin Townsend Experimental/Post Metal

Review by RainingStigmata

4 stars Devin Townsend takes us for a ride through his back catalogue (as of 2013), including his Ocean Machine and Strapping Young Lad days through loosely connected songs all following a theme of togetherness.

There is so much good on this live release. Every song flows into the other seamlessly, or at least with a loose segue from Steve Vai, the narrator of the evening. In typical Dev style he turns up the cheese just enough to make you happy to be alive and experience his music, while still hitting you hard with his guitar playing and headbanging composition ability.

The only downside I can think of is just how long it goes for. While 2 hours is the average length of a movie (said only to convey the fact this tells a story) or a live performance, there is a lot to digest and while I love listening to parts of this at a time, listening at full pelt can get a little tiresome.

Absolute highlights for me are Effervescent!/True North, Planet Smasher through to Addicted! and Hyperdrive through to Bend It Like Bender.

4 stars out of 5. Recommended for those needing a bit of perking up or already happy while not losing that metal feel.

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 Ziltoid the Omniscient by TOWNSEND, DEVIN album cover Studio Album, 2007
4.19 | 494 ratings

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Ziltoid the Omniscient
Devin Townsend Experimental/Post Metal

Review by RainingStigmata

4 stars Serious music without taking itself seriously. This album is fun. That is all that can be said.

I first came across Devin Townsend with his "Addicted" album and fell in love completely not only with Anneke, but the music and words from this man.

So when my friend gave me this album to listen to, I was expecting great things, which after the first few listens I just didn't get.

Giant wall of sound, a drum machine that sounded out of control and .. yuck is that growling??

The good thing is as with many progressive metal albums I have listened to over the years the intricacies begin to uncover themselves to allow you to understand the full story of the album. Once you make sense of the drums, the words and the pictures painted with the music, you end up with an album that is just so kick-butt awesome that my lexicon and love for coffee has been forever changed. Phooey! Yeeeeees! decaf, non-fat, no-whip, sugar-free, vanilla-flavored latte, FETID!"

The highlight songs on this album are By Your Command, Solar Winds, Hyperdrive, Planet Smasher and Colour Your World. All are rich in riffage, sheer guitar wankery and throughout it all, telling a story of insecurity and discovering your place in the universe.

4 and a half stars out of 5, rounded down because of Deus ex Machina. Recommended to those who are fans of great metal musicianship.

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 The Knife by GENESIS album cover Singles/EPs/Fan Club/Promo, 1971
4.03 | 47 ratings

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The Knife
Genesis Symphonic Prog

Review by Tarcisio Moura
Prog Reviewer

3 stars The Knife, the last track from the album Trespass was released as a single in may 1971. Due to the long running time of the song, it was cut in two, the first part featuring as the A side, the second as the B side of the record (a common practice at the time). ?Although the cover photo has the line up of Gabriel/Banks/Rutherford/Hackett/Collins, it is in fact the very same version that had Anthony Philips on guitar and John Mayhew on drums that plays on it: both former members had already left and the cover was a kind of "updated" version of the band. It did not chart and it is a very rare record to find.

Compared to their earlier singles this is a completely different tune: surprisingly aggressive, featuring marching organ, distorted electric guitars and bass, angry anti-violence lyrics. The instrumental parts are very progressive and showed how much Genesis had evolved since From Genesis to Revelation. It was in fact a whole new band and sound, with Peter Gabriel vocal performance reaching new heights. In all, a very powerful composition that was to remain in their set list for years to come (usually as an encore). The production, although far from perfect, also showed much improvement when put side by side with their previous recordings.

As a single, it was hardly the ideal cut for the charts, but it is significant as a turning point: they were now a progressive band with a whole new personalty and a very powerful and original sound. things would never be the same and they were bound to make history. All their early promises were more than fulfilled with the Trespass album, but they would produce even better and lasting masterpieces in a short time.

Rating: 5 stars for the song itself. But since it was cut in two and it was already available as a whole on the Trespass LP, this is only for collectors and completionists. So I guess 3 stars overall is a fair rating.

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 The Steve Howe Album by HOWE, STEVE album cover Studio Album, 1979
3.39 | 112 ratings

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The Steve Howe Album
Steve Howe Crossover Prog

Review by Prog Leviathan
Prog Reviewer

3 stars Celebrated Yes guitarist Steve Howe's self-titled album is well respected and a genuinely enjoyable, representative, and easy-going snapshot of Howe's guitar style. It doesn't soar to epic heights as one might expect if coming only from Howe's Yes output - that grandeur seems reserved for when Howe benefits from the majesty of the whole band - instead, The Steve Howe album offers mostly bite-sized moments of instrumental work that feels very warm, humble, and almost folksy.

Howe gives us, more or less, four kinds of songs: feel-good pastiches of Western Americana, filled with slide guitar and bouncing rhythms; complex acoustic jams like we've heard on his famous "The Clap"; genuine songs, in the sense that they have a conventional verse-chorus-verse-chorus-bridge-chorus structure... granted, his guitar sounds do most of the singing (except in "Look Over Your Shoulder," a song which is better than anything from the last Yes album of this era, Tormato); and finally, symphonic compositions that are lush and pleasant, but somewhat bland because his guitar drifts into the background.

That's a lot of variety, and a lot to enjoy. Some will be disappointed by the lack of "wow" moments in this album, but in the context of the time of its release (the end of Yes, pre-Asia), Howe was likely feeling the need to break away from the prog-rock epics and focus on the playful guitar creativity he couldn't always fit into Yes records. A fun, enjoyable, if overall light-weight release that will definitely please fans of Howe.

Songwriting: 3 - Instrumental Performances: 4 - Lyrics/Vocals: NA - Style/Emotion/Replay: 4

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 At Land by WHYOCEANS album cover Studio Album, 2011
4.00 | 1 ratings

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At Land
WhyOceans Post Rock/Math rock

Review by Finnforest
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars Post-rock from the bustling streets of Macau

I'm always searching quite haphazardly to hear unique little bands from all over the globe, like a kid in a candy store. That element of buried treasures and sonic travel is one of the few things about the Web that interest me. Aside from music and history hobbies I'd rather be outside or reading a book. WhyOceans was one of those lovely moments finding a band with much to give and who've had little buzz at PA.

WhyOceans are from Macau which is a small peninsula of China near Hong Kong. The band began in or after high school in 2005 and are still together over a decade later, a testament to their friendships and work ethic. They initially were influenced by 60-70s psych and Pink Floyd before drifting into some soundtrack work, and finally the natural progression to post-rock. The fact that they must finish their day jobs before plugging in has not stopped them from growing their talents and fan base. While we may know little of them at PA they have been successful regionally and performed some decent sized gigs in Macau and mainland China, and their CD is well into a second pressing.

Their debut "At Land" was named after a 1944 film by avant-garde filmmaker Maya Deren, an evocative stream-of-consciousness experience. I decided to watch "At Land" and some of Deren's other short films while listening to WhyOceans. Fantastic! One can see why they love Deren and I wonder if she didn't influence Kate Bush and even one of my favorite directors, Antonioni. In any case, the experience was like RanestRane doing their music to film and I recommend it. You can watch Deren's work on YouTube if you can't find a DVD.

While in some ways "At Land" is textbook post-rock, with wave after wave of beautiful emotional swell, you can hear the Floyd influence here and there. In one or two places it is obvious with simulation of Wall era darkness creeping in but in other places it is much more subtle. Aside from the intro the other five tracks are 7-12 minutes long and have the luxury of time to develop into pleasing little instrumental stories. Colorful lead guitar and really nice, varying keyboard textures, even some piano, and minimal vocals (which I appreciate as an instrumental rock fan). They have a wonderful confidence in finding good melody and then using the guitar and keys as equal partners in developing them, unapologetically choosing pleasing sounds over abrasion. The guitars and keys work as a tight knit unit rather than individuals. The rhythm section is inventive and there are some heavy sections that contrast the tranquility for a satisfying active listening, unlike the post-rock which some people think of as "background music" alone. There's even a bit of funky electronica. This is not one dimensional repetition, WhyOceans strives to keep it engaging. And I love the fact that the music truly feels like the product of band collaboration as opposed to the one-guy projects with other people helping out later in the recording.

I was able to enjoy a YouTube documentary of this band (Thank you 24+ Project!) which featured band interviews and footage of them rehearsing and gigging. They are in it for all the right reasons, love of music, and they often win over people who've never heard them before with their live performance. It was also interesting to note that despite how much times have changed, being in a band is a dynamic that remains pretty constant over the decades. Their practice space in Macau didn't look that different from our own despite being separated by decades and half a world.

Loved "At Land" as I often do debut albums, I love hearing youth and that special period when everything is still running on wonder. But these guys probably have a better album in them after five years of becoming more proficient and gigging. In 2015 they have a new bass player and are working on their second album. Don't miss checking out WhyOceans as well as the filmmaker who inspired them. Between 3 and 4 stars, liked it just well enough to round up.

今 晚 練 習 開 始 。 "So we start our night"

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 Tyr by BLACK SABBATH album cover Studio Album, 1990
3.22 | 177 ratings

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Tyr
Black Sabbath Prog Related

Review by Sergey Slenkoff

4 stars One of the most closest to prog albums by Sabbath. The central concept compostion consits of 3 parts - "The Battle of Tyr" (short Wagnerian instrumental for keyboards), "Odin's Court" (ballad), "Valhalla" (heavy epic). It is devoted to Scandinavian mythology and to the beliefs of the Vikings. Album was produced by Tony Iommi and Cozy Powell and probably it was Cozy who made acsent on drums and keyboads in the mix. I suppose that Cozy had "Stargazer" by Rainbow as a model of sound in his mind. Tony, Cozy and Leif Masses had made very contrast album. You are either listening to heavy metal riffs or to acoustic or ballad guitar sound. Heavy epics in the start ("Anno Mundi") and the middle of the album, real ballad (do you remember "Changes"?) and official single hit "Feels Good to Me", two dynamic tracks "Law Maker" and "Heaven in Black" (potential hits). Real hit (without single and video) "Jerusalem". What's not to like? Probably the most impressive record and most impressive lyrics by Tony Martin ever. It seems that album impressed mostly Scandinavian bands - you can listen to the albums by Tiamat, Bathory from 90s and they frequently used same manner of contrast sound.

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  94. 1800iareyay (225)
  95. js (Easy Money) (222)
  96. poslednijat_colobar (220)
  97. aapatsos (218)
  98. Raff (217)
  99. The Crow (216)
  100. Syzygy (216)
Remaining cache time: 337 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. In The Court Of The Crimson King
    King Crimson
  6. Foxtrot
    Genesis
  7. Dark Side Of The Moon
    Pink Floyd
  8. Red
    King Crimson
  9. Animals
    Pink Floyd
  10. Godbluff
    Van Der Graaf Generator
  11. Fragile
    Yes
  12. Pawn Hearts
    Van Der Graaf Generator
  13. Nursery Cryme
    Genesis
  14. Larks' Tongues In Aspic
    King Crimson
  15. Per Un Amico
    Premiata Forneria Marconi (PFM)
  16. Moving Pictures
    Rush
  17. Mirage
    Camel
  18. Hybris
    nglagrd
  19. Moonmadness
    Camel
  20. Hemispheres
    Rush
  21. Relayer
    Yes
  22. Io Sono Nato Libero
    Banco Del Mutuo Soccorso
  23. In A Glass House
    Gentle Giant
  24. Darwin!
    Banco Del Mutuo Soccorso
  25. Si On Avait Besoin D'Une Cinquime Saison
    Harmonium
  26. Storia Di Un Minuto
    Premiata Forneria Marconi (PFM)
  27. A Farewell To Kings
    Rush
  28. Kind Of Blue
    Miles Davis
  29. Aqualung
    Jethro Tull
  30. Birds Of Fire
    Mahavishnu Orchestra
  31. Crime Of The Century
    Supertramp
  32. Still Life
    Opeth
  33. The Silent Corner And The Empty Stage
    Peter Hammill
  34. Hot Rats
    Frank Zappa
  35. Meddle
    Pink Floyd
  36. The Raven That Refused To Sing (And Other Stories)
    Steven Wilson
  37. Ommadawn
    Mike Oldfield
  38. Depois Do Fim
    Bacamarte
  39. H To He, Who Am The Only One
    Van Der Graaf Generator
  40. Hand. Cannot. Erase.
    Steven Wilson
  41. Images And Words
    Dream Theater
  42. The Lamb Lies Down On Broadway
    Genesis
  43. The Yes Album
    Yes
  44. Permanent Waves
    Rush
  45. Metropolis Part 2: Scenes From A Memory
    Dream Theater
  46. One Size Fits All
    Frank Zappa
  47. In a Silent Way
    Miles Davis
  48. The Grand Wazoo
    Frank Zappa
  49. The Snow Goose
    Camel
  50. Scheherazade And Other Stories
    Renaissance
  51. Still Life
    Van Der Graaf Generator
  52. The Power And The Glory
    Gentle Giant
  53. Mkank Dstruktẁ Kmmandh
    Magma
  54. Octopus
    Gentle Giant
  55. The Road Of Bones
    IQ
  56. A Trick of the Tail
    Genesis
  57. Free Hand
    Gentle Giant
  58. Rock Bottom
    Robert Wyatt
  59. In The Land Of Grey And Pink
    Caravan
  60. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  61. Zarathustra
    Museo Rosenbach
  62. Second Life Syndrome
    Riverside
  63. Blackwater Park
    Opeth
  64. Arbeit Macht Frei
    Area
  65. Spectrum
    Billy Cobham
  66. In Absentia
    Porcupine Tree
  67. Misplaced Childhood
    Marillion
  68. Ghost Reveries
    Opeth
  69. Viljans ga
    nglagrd
  70. Emerson Lake & Palmer
    Emerson Lake & Palmer
  71. Fear Of A Blank Planet
    Porcupine Tree
  72. Hatfield And The North
    Hatfield And The North
  73. L'isola di niente
    Premiata Forneria Marconi (PFM)
  74. Time Control
    Hiromi Uehara
  75. The Inner Mounting Flame
    Mahavishnu Orchestra
  76. Acquiring the Taste
    Gentle Giant
  77. Hamburger Concerto
    Focus
  78. Space Shanty
    Khan
  79. Pale Communion
    Opeth
  80. K.A
    Magma
  81. Radio Gnome Invisible Vol. 3 - You
    Gong
  82. Rubycon
    Tangerine Dream
  83. The Perfect Element Part 1
    Pain Of Salvation
  84. Remedy Lane
    Pain Of Salvation
  85. Script For A Jester's Tear
    Marillion
  86. Felona E Sorona
    Le Orme
  87. Doomsday Afternoon
    Phideaux
  88. Elegant Gypsy
    Al Di Meola
  89. If I Could Do It All Over Again, I'd Do It All Over You
    Caravan
  90. Lateralus
    Tool
  91. Uzed
    Univers Zero
  92. Anabelas
    Bubu
  93. Part the Second
    Maudlin Of The Well
  94. Caravanserai
    Santana
  95. Voyage Of The Acolyte
    Steve Hackett
  96. Choirs Of The Eye
    Kayo Dot
  97. Memento Z Banalnym Tryptykiem
    SBB
  98. Bitches Brew
    Miles Davis
  99. Symbolic
    Death
  100. Uomo di pezza
    Le Orme

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

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