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 An Ocean Held Me by MICE ON STILTS album cover Studio Album, 2013
4.36 | 39 ratings

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An Ocean Held Me
Mice On Stilts Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

5 stars Mice on Stilts passed through my radar undetected, perhaps due to the fact that their name somehow did not inspire me = I had pet mice when growing up but moved on and was never very impressed with stilts. Poor attempt at humor, I guess but let's face it New Zealand is not exactly a prog hotbed but this only goes to prove that prog globalization is becoming a reality. A full blown world-wide community. My previous unrequited love for the ultra-quirky Split Enz has definitely added to my evaluation. And why, not, as the instrumentation here is just as uniquely original and both sublime vocals /instrumentation.

So guitarist Ben Morley sent me their EP, something I also am generally averse to, being a stickler for full ALBUMS as opposed to songs (MP3s I am really not a fan of). And frankly, once again, I am proven to be a moronic dingbat. Hey, humility only makes you stronger! Truth is that Mice on Stilts offers masterful progressive rock music, definitely original in terms of instrumentation, though there is a flowing Floydian mood that is palpable. With a track entitled "Syd's Socks", what do you expect? But all the focus should be on the lead, harmony, backing and special effect vocals that are exemplary. Honking organ, windswept saxophone and that clanging guitar all combine to shape this brooding opening song. The unshaven voice is tired, frazzled and disconsolate.

A lamenting viola (Sam Hennessy) introduces a piano that expresses the deepest sorrow, the slowly evolving "Binocular Bath" (now that is what I call a prog title!). It's also a fabulous song, a conspicuous dirge of profoundly felt melancholia, swooning vocals, prominent Sam Nash bass, and pulsating 'drumster-isms'. The electric guitar is stormy and aggressive when needed, the melody overpoweringly effective. The lead vocalist (Ben, Is that you?) sounds eerily similar to Airbag's singer Asle Torstrup, who owns a Dave Gilmour slash Robert Smith wail.

The Nick Wright piano introduction to "A Moss Ocean" is so crushingly beautiful, I had a hard time believing my ears! The voice is breathlessly passionate, the classical-tinged orchestrations are very close to Penguin Café Orchestra's Simon Jeffes (a sadly unknown genius), with dense use of viola, saxophone and trumpet to highlight the pain. The overall mood is one of anguished reflection, a style I particularly love as it permeates deep into the soul and takes you somewhere you know well but have never been. This one really kicked me in the pants, I was one step away from crying. The final lyric "She left in a Russian car" only adds to the mystery. Love this stuff!

The loping cinematography of "Vulnerable Vader" is perhaps a tad more straightforward with winks at Radiohead as it veers into slight dissonance, the circumspect saxophone (Aaron Longville) blowing through the blustery clouds (OMG, what a sublime instrument that is, eh?). Tolling guitar chimes, piano rivulets, brooding bass and hefty drum support are all impeccable but it's that damned viola creeping forth that really nails you to the cross. The vocal effects are also exemplary giving backbone to the gritty wail of the deranged sax and the dirty guitar. This quickly veers into Mel Collins meets Bob Fripp delirium as found on "Sailor's Tale"! Tortuous, deranged and damned angry, the gruesome oil of rage is expertly expressed.

Then finish off with the larger-than-life "Tuatara Lawn", an astonishing composition spanning a dozen minutes that expertly encompasses the values of the Mice on Stilts sound, inflicting Dead Can Dance pain, releasing Anathema-like sunny angst and having it then marinate in Pink Floydian symphonics, with the added viola/sax in unison with the delicate piano. The upward vortex of specially effected voice sounds, courtesy of Joseph Jujnovich give the whole that wailing operatic flavor that hits you hard in the gut. Powerful and majestic, densely atmospheric and utterly gorgeous. Morley gives his resonating, echo- laden axe a long, simple and lovely workout, oozing emotion with a profound sentimentality. Music of this caliber should appeal to a wide swath of progressive fans and maybe even be inclined to give some outsiders a further understanding of how meaningful talents create masterful music in relative silence.

Colossal and timeless surprise, I bow in subjugated appreciation. Wow!

5 Fellini rats

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 Heaven & Earth by YES album cover Studio Album, 2014
2.37 | 183 ratings

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Heaven & Earth
Yes Symphonic Prog

Review by ScarRitual

2 stars The seventies were many many years ago and one can produce, if one is so inclined, works that mimic the masterworks of that time. Some very good albums arose that way and i do enjoy listening to bands that adhere to the use of vintage instruments and recording techniques, and most of all, the musicianship ethics and free for all spirit of the decade i most love, BUT..those bands did not produce those masterworks themselves and therefore i can accept Yes not being inclined to attempt to produce CCTE 2 or Re- Relayer or TFTMountains..or even anything similar to GFTO or TYA. What i cannot apologize is the fact the band became an uninspired bunch of geriatrics that make albums without really wanting to, without any spirit or inventiveness. I do enjoy most of this pop album and that's why i give it 2 stars, in particular 'Subway Walls' is quite pleasing. But it just isn't good enough, not by a long shot, to merit the hallowed YES stamp on it. At least Open Your Eyes had some spirit to it. The previous effort deserved at least 3 stars. Not this one. And let me finish by elaborating a bit on the performance of the involved musicians. Jon Davison is a good singer, far from having the quality of Jon Anderson he still does well enough..as for his writing skills it is obvious Jon D. does not care much for prog..pop is definitely where he feels at home. Alan White is actually, imho, a bit better here than most of the band's albums since Keys. Steve plays it nice and clean and safe here, very unedgy and bland. I do not think Geoff Downes is a good fit for Yes. He never was. It suffices to listen to the myriad crap he was mostly responsible for in Asia to reach this conclusion.Chris's tone is present but that's it..very basic and average performance from my favourite bass player. The production lends an helping hand to the blandness of the album. 2 stars. To give it more would be highly unfair to the band's back catalogue and to the inspired prog work that fortunately keeps flooding our ears and soul.

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 Post by BJÖRK album cover Studio Album, 1995
3.44 | 85 ratings

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Post
Björk Crossover Prog

Review by Chicapah
Prog Reviewer

4 stars I started checking out Bjork earlier this year and have been somewhat surprised to find how interesting her music is. I've always liked the female voice whether it was Barbara Streisand's, Linda Ronstadt's or Billie Holiday's but didn't encounter it to any extent in the progressive realm's heydays of the 60s and 70s so when courageous ladies like Bjork and Tori Amos appeared on the scene in the 90s I paid them little attention. But prog rock paints on a much wider canvas these days and it took me a while to accept that all progressive music isn't necessarily going to sound like Yes or Genesis or ELP. Once my horizons were broadened (thanks in no small part to this template-expanding website's existence) I realized that I'd only been limiting myself by not giving the younger proggers a fair listen. Bjork is one of them and she is cool in every sense of the word. Her first official solo record, "Debut," was impressive and made me want to investigate her aural art further so "Post" was the logical next step in my education.

As she did with "Debut" she opens her sophomore CD bravely with something challenging. This time it's "Army of Me." A strong drum beat and a NIN-styled synth bass line precede the emergence of a strange, wandering vocal melody that doesn't seem to be grounded in any kind of established chord progression. In other words, if you come here looking for something akin to Aretha Franklin you'll quickly realize that this ain't exactly the queen of soul. The excellent "Hyperballad" is next and it's a song that possesses a little more structure that makes it much more comprehensible. The tune's jazzy electric piano as it wafts over a light techno rhythmic scheme is intriguing and Bjork's singing motif sticks out as being wholly unlike any other on earth. "The Modern Things" follows. Its underlying track develops in a way that's reminiscent of Peter Gabriel's early solo work and the jazz influence detected in her songwriting is undeniable. Yet Bjork is remarkably unorthodox on all counts so you never know what to expect. "It's Oh So Quiet" is a case in point. As she did on the previous disc, she slips into nostalgia mode skillfully and without apology, this time as she brazenly fronts a big band. What's great about this cut is how she manipulates the contrasting dynamics and her clever humor so brilliantly. It's highly entertaining stuff. On "Enjoy" she jumps back into an industrial groove that Trent Reznor would approve of and once again sings in a key that only she can hear. The number creates a bizarre, unnerving aura that is somehow magnetic. "You've Been Flirting Again" is a short vocal-with-string- section piece that provides the album with a classy change of pace moment right in the middle.

"Isobel" is another standout song. It sports a full orchestral opening and then morphs into a number containing a pulsating rhythm that exudes a slight South American vibe but the tune avoids becoming your average girl-singer fare because Bjork takes the score wherever she wants to regardless of conventional wisdom. I like that she so openly flaunts her freedom. "Possibly Maybe" is next and it begins with an electronically-generated loop of sampled sound before evolving into a slow-paced number wherein her emotionally-charged voice dominates, establishing a dichotomy between the serene and the passionate. "I Miss You" is another highlight. Its subtle dance beat is augmented by both artificial and authentic percussion instruments as the track strides beneath her aggressive vocal. She wisely lets the intoxicating momentum carry the song on its shoulders without hindrance and the brassy horns are an exciting addition. "Cover Me" is a brief arrhythmic, experimental composition that displays her fearless nature flawlessly. She closes with "Headphones." After an extremely subdued start she introduces muted synthesized toms that instigate a beat pattern to guide you through an array of inventive vocal snippets and manifestations of her free form poetry and utterances that tastefully manage to skirt around the potholes of becoming irritating or insincere.

Released in the summer of 1995, "Post" reached #32 in the USA but streaked up to #2 in the UK. The singles that the CD spawned also did much better in Britain than here in the states and that further confirms to me that the English continue to be much more prog-minded and flexible in their musical tastes than their Yankee counterparts. The effects of the MTV virus still linger, evidently. Bjork's music also suggests that the final decade of the second millennium was a lot more progressive than I realized and that may be due to the fact that her eclecticism kept her off of US radio stations that were too timid and conservative to give her songs a decent chance to flourish. Over here she was more likely to gain exposure from her wild costumes and exotic looks than from her adventurous music and that's a shame. Hopefully a lot more American proggers will discover her charms in time. Give her a spin. 3.5 stars.

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 Heaven & Earth by YES album cover Studio Album, 2014
2.37 | 183 ratings

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Heaven & Earth
Yes Symphonic Prog

Review by Cinema

4 stars I have to be honest, after reading all the reviews panning this album, I was dreading listening to it. I figured it was going to be another disaster like Open Your Eyes. Well, I got my copy last week and I have to say, I really like it. In fact, I like it a immensely more than Fly From Here, 90125, Talk, Big Generator, Union, and the aforementioned Open Your Eyes.

No, it's not Close to the Edge, Fragile, Relayer, Going for the One, or any of the 70s masterpieces, but it's not trying to be either. The compositions are strong, the vocals and musicianship top notch, and it's a consistently strong listen from beginning to end. I honestly can't find a bad track on the album.

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 L'assenza by MESEGLISE album cover Studio Album, 2013
4.00 | 1 ratings

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L'assenza
Meseglise Crossover Prog

Review by Todd
Special Collaborator Rock Progressivo Italiano!

— First review of this album —
4 stars A pleasant side road

Sithonia has been around the RPI scene for about 25 years, releasing over that period five studio albums and a live album, all fairly solid entries into the second wave of RPI canon. Over the last 14 years, members of the band wrote and recorded several songs in a slightly different style, more in a singer-songwriter vein than Sithonia, with progressive and Mediterranean shadings. Sithonia keyboardist Paolo Nannetti and guitarist Marco Giovannini decided to take these songs and create a side project. They added three members (Maurizio Lettera on drums, Maya Seagull on bass, and Maria Robaey on violin) and enlisted other Sithonia personnel to assist on the final recordings. The result is the debut album by the band Méséglise, entitled "L'assenza."

The music of Méséglise on this debut album is highly melodic art rock, mainly laid back with a distinct Mediterranean sound, including much piano and frequent accordion. There are many keyboard flourishes that make prog fans feel right at home (including a fair bit of mellotron), and the ambience created is a comfortable, nostalgic one. The songs are always well written if not complex, sometimes brooding, other times content, often wistful. But the music is always welcome, never tiresome, and the experience is overall a very enjoyable one. Samples are readily available on the web, and the album is widely distributed by Lizard. 4- stars (Gnosis 11/15)

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 Pilgrimage by WISHBONE ASH album cover Studio Album, 1971
3.57 | 171 ratings

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Pilgrimage
Wishbone Ash Prog Related

Review by stefro
Prog Reviewer

3 stars 1971's 'Pilgrimage' picks up pretty much where it's impressive predecessor, 1970's eponymous debut, left off. This time round, however, the classic Ash line-up of Andy Powell(guitar, vocals), Martin Turner(bass, vocals), Ted Turner(guitar) and Steve Upton(drums) opt for a slightly mellowier vibe, dipping into their reserves of folk influences in order to embellish 'Pilgrimage' with it's own distinct sound and thus separate it from the rockier 'Wishbone Ash'. Indeed, it has been a feature of Wishbone Ash's lengthy career to bravely juxtapose styles from album-to-album, often to the very real disappointment of even some their own fans, yet what this truly illustrates is a group more concerned with seeking creatively satisfaction than commercial benefits, an honourable trait. In the end, they received both, with 'Pilgrimage' proving an important stepping stone on the road to international success. Of course, you can't really write a review of early Wishbone Ash material without mentioning 'Argus', the group's awesome magnus opus that overshadows everything else they did, in particular 'Pilgrimage' which it closely follows. 'Argus' would expand the group's sound into progressive rock territory, concentrating on the impressive dual guitar attack of Powell and Ted Turner, yet 'Pilgrimage' would ultimately hold back from this kind of grandstanding, instead featuring a deep, glowing, almost amber sound brushed with the rustic hues of acoustic strums, slow-burning melodies and topped off by two jokers in the pack in the jazzy opening number 'Vas Dis' and the slow-burning epic 'Valediction', which still ranks as an out-and-out Ash classic. Although 'Pilgrimage' doesn't quite hit the same satisfying mystic-rock mark as the two classic albums that immediately surround it, this is still top-notch Ash product and one of only four albums to feature the group's pioneering original line-up. STEFAN TURNER, TOULOUSE, 2014

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 Wishbone Ash  by WISHBONE ASH album cover Studio Album, 1970
3.77 | 180 ratings

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Wishbone Ash
Wishbone Ash Prog Related

Review by stefro
Prog Reviewer

4 stars Still recording, releasing and touring after almost half-a-decade in existence, the lengthy and colourful Wishbone Ash story began all the way back in 1970 with this assured self-titled debut. Forty-four years and twenty-nine studio albums have followed, yet the simple fact of the matter is that Wishbone Ash peaked early on, issuing a fine opening trio of albums before venturing into a long, slow and sometimes painful artistic-and-commercial decline. However, despite those ill-judged late-career forays into NWOBHM-era heavy metal and, er...techno(!?) on the late-nineties albums 'Trance Visionary' and 'Psychic Terrorism', Wishbone Ash have actually enjoyed a pretty successful career, cracking North America during the late-seventies, issuing at least one stone-cold classic in the form of 1972's 'Argus' and somehow sustaining an audience throughout their many fluctuations in both style and popularity. Like many groups who started out during the heady days of the late- sixties/early-seventies, Wishbone Ash's best bits defintely came early on, during a short-but-scintillating three-year period that began with this debut album, continued on with 1971's 'Pilgrimage', and peaked with the all-conquering 'Argus'. All three albums, plus 1974's folksy 'Wishbone Four', feature the 'classic' Ash line-up of Andy Powell(guitar, vocals), Martin Turner(bass, vocals), Ted Turner(guitar) and Steve Upton(drums), and it this period which truly defines the group. These peak years effectively ended when, following 'Wishbone Four', the group's original twin-guitar attack was broken up, and Laurie Wisefield, formerly of progressive rock outfit Home, replaced the departing Ted Turner. From here on in, the distinctive Wishbone Ash sound would undergo a gradual Americanisation, with albums such on as 'Locked In' and 'New England' showcasing a slick and formulaic hard rock style aimed squarely at the North Ameican charts. Issued by MCA during the run-up to Christmas, 1970's 'Wishbone Ash' proved a surprise debut success and instantly found the group an audience in their homeland. The dual guitar attack offered up by Powell(who, as of summer 2014, is still leading the group) and Ted Turner both thrills and enthralls on the album's closing pair of epics, with both the ten-minute 'Handy' and the mystical opus 'The Phoenix' displaying the group's clever mix of hard rock pyrotechnics, soaring harmonies and atmospheric acoustic undertones. Despite a so-so opening with the frenetic, blues-stained opener 'Blind Eye', this remains a fine album from a youthful and energetic group. Echoes of 'Argus' can be heard in the album's carefully-layered grooves, whilst Martin Turner's ambivalent lyrics mesh cleverly with the album's lofty themes. STEFAN TURNER, TOULOUSE, 2014

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 Fragile by YES album cover Studio Album, 1971
4.42 | 2367 ratings

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Fragile
Yes Symphonic Prog

Review by psychprog1

2 stars I was always wondering why people regard this as a masterpiece. I'm writing this review in order to express a different opinion and not, of course, to convince you not to like it! So, please don't attack me because of the low rating I give. If you wish to help me discover virtues of it that still lie hidden (for me) please do so.

I really can't find anything so attractive in this one and haven't heard it more than 3 or 4 times, although I'm generally a Yes fan and I really enjoy the rest of their albums of the era. I even enjoy personal Yes members albums (of the 70s) more than this one. I find all of it too cold and sentimentally dull. There are long, repetitive parts in the longer tracks while the shorter ones are, in my opinion, just pointless fillers. Some of these evils recur in other Yes albums (and in the prog rock genre as a whole for some, but I'm not one of them!), but I find most of them more atmospheric and less annoying than this one.

I realise that all members or the band are top form in this album, their playing is excellent throughout (even when they show off in a boring manner) and Jon Anderson's voice is best than ever, but this doesn't really make me play the album...

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 Love Beach by EMERSON LAKE & PALMER album cover Studio Album, 1978
2.06 | 447 ratings

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Love Beach
Emerson Lake & Palmer Symphonic Prog

Review by psychprog1

3 stars This is surely a mediocre album, but I would urge all prog fans to hear it, at least for two reasons: First, to discover some beautiful, 100% prog moments -actually the 20+ minutes of the suite that covers side 2 of the LP (Memoirs Of An Officer And A Gentleman)! The rest of the album is inferior but I really feel that people who attack this album as a whole are exaggerating in such a manner that I doubt if they have heard more than one or two minutes of it before they condemn it.

Second, in order to realise that one shouldn't be too prejudiced by previous reviews and external factors like the silly album cover or the recording date, because then one will miss an album that is quite pleasant, well-played and, I would say, much more human than most ELP albums! Just listen to all of it once.

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 Power And The Passion by ELOY album cover Studio Album, 1975
3.65 | 298 ratings

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Power And The Passion
Eloy Psychedelic/Space Rock

Review by psychprog1

3 stars This is an atmospheric album, but I would generally call it "poor man's prog"... I remember, around 34 years ago, when Eloy came to my country and this album became an "icon" for local prog fans. I believe this was the first ever concert by a foreign prog band in this country (people from my country must have just guessed what I'm talking about), and I definitely understand why Eloy LPs like this one have been so much worshipped around here.

But... I cannot disregard the flat vocals, the awkward lyrics, the poor and complacent playing which is more or less derivative of Jethro Tull and the like.

I still enjoy listening to it myself sometimes but I would find it naive to praise it a lot, as there are hundreds of pleasant prog LPs like this one.

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