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 Nicola by JANSCH, BERT album cover Studio Album, 1967
2.56 | 8 ratings

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Nicola
Bert Jansch Prog Related

Review by kenethlevine
Special Collaborator Prog-Folk Team

2 stars Rudderlessly lying in wait for PENTANGLE's illustrious history to commence, JANSCH marks time with this often depressive, sometimes angry sometimes pastoral and sometimes ingratiatingly sunny release. Acoustic blues, folk and naive 1960s pop are some of the outfits modeled.

It doesn't take long to go wrong, and "Go Your Way my Love", while actually decent, certainly hints at boredom being the likely cause of the departure. In a rare moment of thematic continuity, "Woe is Love my Dear" is really part 2 of the self induced self pity, but musically this is much more successful. It and the title track which follow result in an early pinnacle that is never even approached. Arrangements by David G Palmer which presumably include the uncredited flute and strings add luster to both tracks, to which NICK DRAKE may have listened.

After this, a combination of ouch and meh, with a few trad styled blues numbers like "Come Back Baby" (geez, again?) and "Sweet Little Sunshine" intermixed with his DONOVAN interpretation, minus the likeability ("Love is Teasing"), 2 or more Jansch's singing at once, netting the expected results ("Rabbit Run"), a PET CLARK impression ("Life Depends on Love", "Wish my Baby was Here") experiments, ditto. All the virtuosity could be summoned but it doesn't help the cause, though if I had to nominate a tune from the backsliding backside it would be the more thankfully understated "Box of Love".

I was beginning to wonder if any of these supposed classics would crack the 3 star barrier, without realizing that the first such case would fall through the floor. Not quite 2.5 stars

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 The Wall by PINK FLOYD album cover Studio Album, 1979
4.09 | 3385 ratings

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The Wall
Pink Floyd Psychedelic/Space Rock

Review by Sygnus X-1

5 stars There are many reviews of The Wall?some focusing on its exceptional production work, others on its lyrics. Today, however, I want to propose something different: a literary review. An analysis of the psychosocial construction of Pink, the boy who stars in the album's suites, using Theodor Adorno's book "The Authoritarian Personality" as a theoretical basis. It is not possible to categorically state that Waters was inspired by Adorno's studies when shaping Pink's traits. However, there are noticeable convergences when evaluating the character's psychological profile and narrative.

In the plot of The Wall, Pink's childhood is marked by the absence of his father (lost in the war) and the presence of a mother who, although affectionate, is overly protective and, at times, oppressive. These characteristics align with elements that Adorno highlighted in the early development of the authoritarian personality: the inability of a family structure to provide emotional security and encourage individual autonomy. The absence of a father figure and the mother's overprotection create an emotional ambivalence, in which the subject internalizes the idea of ​​authority in a distorted way. This context fosters the development of a personality that oscillates between repressed hostility and the need to submit to external figures. By building his emotional wall, Pink tries to protect himself from a world that, since childhood, has deprived him of any real opportunity to develop an autonomous identity.

Another central element in Pink's trajectory is his school experience, powerfully portrayed in Another Brick in the Wall. The educational system, symbolized by relentless discipline and the imposition of rigid rules, functions as a mechanism that reinforces the repression of individuality and creativity. Adorno argues that institutions that prioritize uniformity and punish dissent tend to foster an authoritarian personality, where blind obedience becomes a defining trait. (This, in turn, explains why so many fascists in Brazil support military schools.) In The Wall, school is not merely a place of learning, but an environment of domination, where each brick, that is, each experience of repression, contributes to the construction of the psychological wall that isolates Pink from the world.

By analyzing the family structure and the educational system within the narrative, it becomes possible to see Pink as a fictional social representation of what Adorno identified in the authoritarian personality: an individual who, having been exposed from an early age to repressive environments, develops defensive instincts that end up transforming into emotional barriers (the wall) that, in turn, make it impossible to establish a healthy relationship with one's own existence and with others.

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 Leftoverture by KANSAS album cover Studio Album, 1976
4.24 | 1331 ratings

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Leftoverture
Kansas Symphonic Prog

Review by Alxrm

5 stars I can think of no better way to begin putting down my thoughts on this album than mentioning this fact: Magnus Opus was initially named Leftoverture since its parts were leftovers from soundchecks and the recording sessions for the Masque album and the guys decided to splice them together and come up with a song and eventually they liked the title so much that it was upgraded into an album title. So just think of this: these parts were leftovers! We are talking about tons of inspiration! The album is famous for the opener Carry on Wayward Son alone (which, by the way, was the last one written and it barely made the album!) and here I'd like to make another remark that one can write progressive music that can also strike a chord with people who are not musicians. Of course this goes not only for this song, but The Wall also could fare as well, if it was promoted as such. And aside The Wall it could also be What's on My Mind, Miracles Out of Nowhere....literally the entire album which is melodic, adventurous, it rocks, it oozes with feeling with not a single note to spare and top-notch vocals. It is absolute perfection and a monument in our beloved music. Some dyed-in-the-wool pog fans claim that Kansas gave in to a more radio-friendly sound. There is some truth in it, since Kerry Livren himself (who, incidentally, has written almost the entire album since Steve Walsh was experiencing writer's block) has admitted it by saying that if they hadn't done so, only die-hard collectors would know of them and after that there wouldn't be Kansas any more. But the bottom line is they possessed the musicanship, intelligence and aesthetic to balance all these elements in the most beautiful way.

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 The Forgotten Tales by BLIND GUARDIAN album cover Boxset/Compilation, 1996
3.65 | 61 ratings

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The Forgotten Tales
Blind Guardian Progressive Metal

Review by martindavey87

3 stars 'The Forgotten Tales' is a 1996 compilation album by German power metal band Blind Guardian. Rather than a retrospective look over their five-album career (at that point), this gathers up all the loose ends, in particular, singles b- sides and bonus tracks from various different releases, but of course, there's a number of new recordings too. Varying from covers, acoustic renditions and live recordings, it's quite a mixed bag, but it's very definitely Blind Guardian through and through.

The covers in particular, are all pretty fantastic. Paying homage to the likes of the Beach Boys, Mike Oldfield, Queen, Little Richard and Uriah Heep, these are unlikely artists to cover, but the Germans have stamped their sound all over them, and truly made these songs their own.

There are also live and orchestral versions of some Blind Guardian classics, and again, these work wonderfully. Especially considering the themes of the music, they really add a new depth to the bands writing and ability to tell stories.

Overall, this might be a bit hit-or-miss for casual listeners, but for die-hard Blind Guardian fans this is an absolute treat. Tracks like 'Surfin' USA', 'Mr. Sandman', 'Barbara Ann' and 'To France', as well as new renditions of 'Bright Eyes', 'Mordred's Song' and 'Lord of the Rings' are all excellent reasons to get this album. And while the band would delve into more ambitious, progressive territory after this release, this works as a great bookend at that point of their career.

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 Apocalypse by MAHAVISHNU ORCHESTRA album cover Studio Album, 1974
3.71 | 342 ratings

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Apocalypse
Mahavishnu Orchestra Jazz Rock/Fusion

Review by alainPP

3 stars 1. Power of Love for the slow solemn rise, the London Symphony Orchestra being a big part of it, you'd think you were at the Salle Playel on contemporary classical music; a languorous title in the Vangélisian style with drums and trumpets 2. Vision Is a Naked Sword, serious psychedelic mode worthy of a PINK FLOYD in heat, or in turmoil; intimate crescendo that makes time go away and forget; contemplative taken by the classical orchestration; halfway through and the MO takes over the reins with Jean-Luc, Gayle and John shooting like no one else, or three, in a sharp, energetic jazz rock drift; a beautiful exercise in style that is worth the notes delivered per kilo! 3. Smile of the Beyond for the suave melody with Carol on vocals; a bucolic moment worthy of an unfinished symphony, a ray of sunshine at the musical dawn; here again the mid-course allows the rock instruments to explode with the twirling guitar; it's very nervous before the return to the final classical orchestration

4. Wings of Karma we got up, we put on the B-side and the typical classical intro; we sit down and wait for the typical explosion of the MO, here with especially Jean-Luc who is doing his thing; in short, soft, twirling and an orgasmic piece if you like this fusion of two opposing styles that everything finally connects 5. Hymn to Him for the melting pot highlighting the spearheads of the group; at a time when a certain DREAM THEATER is criticized for its mastery, I note that John, Gayle, Jean-Luc and Michael go there with their instrument separately and together, offering a good summary of what jazz fusion can mean, this for the purists; let's note the flight of violins at 13 minutes which sets even more fire on this major piece, but also monolithic, made of successions of mini drawers more put to the end than anything else; the solemn divine finale and an album which shows an unparalleled fusion for those who like me cannot stand the aggressiveness of string instruments irritating to the ear.

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 Mysterious Traveller by WEATHER REPORT album cover Studio Album, 1974
3.93 | 222 ratings

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Mysterious Traveller
Weather Report Jazz Rock/Fusion

Review by alainPP

2 stars 1. Nubian Sundance which I would have translated as trance jazzy fusion electro; or how to integrate applause as a musical instrument, otherwise it's clearly keyboard and groovy to the extreme, yes but where is the guitar that is supposed to hold the pavement? 2. American Tango for the charming sax and the popping bass; for the enchanting groove and the clarinet, for the improvised jam side and the lack of progressive link that has always made me flee this musical genre, too acid, too sharp for me 3. Cucumber Slumber with the same remark, a sound like SANTANA but without guitar, an electric sax and a bass as funky as it is lacks charm in the development of a journey; how to fly away when my feet, my legs do not stop moving and cannot give the impulse of the great journey; the maracas and other percussions give the trace but not the plot

4. Mysterious Traveller changes face and starts well; a latent spatial sound, progressive in fact that puts the ear on alert; the piano and the long progression, that's it, we're really into it; it's latent and psychedelic on vibrant sounds, well I should have indulged in drugs in those distant times in fact to dive into it? 5. Blackthorn Rose with the association of two discordant sounds for me, the sax and the clarinet; it's beautiful like a bird taking flight but the aggression of the flight prevents me from enjoying the sounds; yes we can't like everything when certain instruments irritate to this point 6. Scarlet Woman with a beautiful intro, atmospheric-latent, I settle down; bang the wind instrument attacks me, I hadn't seen it coming; it's a shame because this very captivating crescendo can make you go to lands, outside of this orgasmic jet; the sovereign percussive pad, tiger animal in ballad 7. Jungle Book arrives, phew the last title; and not bad at all in addition; cinematic before its time, relaxing Japanese air, yes I can finally relax, children's cries in the distance, a bit of Oldfieldian flute ... before its time. This title has the progression sought; calm, composed, without stressful jolts; the rise takes time and recalls more the works of REICH, GLASS than jazzy experimentation, this perhaps explaining that, in short excellent.(2.5)

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 Endless by DGM album cover Studio Album, 2024
4.09 | 25 ratings

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Endless
DGM Progressive Metal

Review by kev rowland
Special Collaborator Prog Reviewer / Special Collaborator

4 stars OK, now this is getting ridiculous. When I reviewed 2020's 'Tragic Separation' a year after it was released, I said I could not believe it had taken ten albums for me to come across them, as here was a band approaching the genre from AOR and with a heavy appreciation of Stratovarius. I put the review on ProgArchives and was amazed to see it was the only review of the album there. Fast forward to 2023's 'Separation' and when I placed that review on the site, I noticed there were still no reviews for the former album, and none for this one either. Now here we are with what is probably their best album I have come across and yet again no review for this one yet, and still none for the others, what is going on?

Imagine if you will an Italian prog metal band who are not taking any influences from their own country but instead are taking the metallic approach of Stratovarius and then blending it with classic Spock's Beard and Kansas to produce something which is simply stunning. This is the sixth album with the same line-up, stretching all the way back to 2009's 'frAme', with Mark Basile (vocals), Simone Mularoni (guitars), Emanuele Casali (keyboards), Andrea Arcangeli (bass) and Fabio Constantino (drums). This is their first concept album where they tell the story of one man's journey through life and asks the question about what would have happened if he had taken a different path. The first part of the album represents the protagonist's self-reflection on his current circumstances, the middle looks back on pivotal moments and imagines what could have been and what may have been missed out on, then at the end he looks back and asks 'why?'.

This never sounds Italian, as the American approach to melodic metal combines with classic prog influences to create something which is highly polished with far more emphasis on crunching guitars and harmony vocals than one would expect from RPI. They have a thundering rhythm section, while keyboards and guitars interplay, providing support, duetting or soloing and then at the front is the power of singer Mark Basile who is a real find. This is great stuff, as they have lifted the game again from the last two albums, which I also really enjoyed. Hopefully by the time I come to write about the next one more people will have realised that here is a really class act.

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 Le Vent De L'esprit Souffle Ou Il Veut by NADAVATI album cover Studio Album, 1978
4.04 | 6 ratings

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Le Vent De L'esprit Souffle Ou Il Veut
Nadavati Jazz Rock/Fusion

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. NADAVATI was the project of guitarist Jacques Liot, who composed all the music and co-produced it. Essentially they were a five piece with a lot of guests helping out. I believe there were around 14 artists in total involved in the making of this record, including two vocalists. This band was from France and they recorded this album over a two week period in the spring of 1977, at the studio ZAO was using at the time.

We get some players here as Alain Leconte is on bass, and he co-produced it. Alain would be part of that Serge Bringolf album called "Vision" in 1981, and he was also in the ALAIN ECKERT QUARTET. We get drummer Didier Hauck from TRIODE, and the guy is incredible. Patrice Freequentin is here playing sax and flute and he's from NYL. And the keyboardist adds clavinet, electric piano and synths. The two male vocalists include Lionel Ledissez from ERGO SUM, and they sing on the closer only, and in the Zeuhl style. I didn't recognize his voice, as it's wordless stuff. Really good too.

Other guests include three more horn players including Richard Raux from MAGMA. Raux would go onto play in EDITION SPECIALE and with Yockh'o Seffer. Four guys are playing strings here. It was interesting reading about MAGMA's Klaus Blasquiz who was excited about this band and shared this with Christian Vander who agreed. Vander would have three of the guys over at his house including Leconte and Liot, as he wanted to collaborate with them, but the guys would have a change of heart, not liking the musical direction that Vander was leading them towards.

While many compare this band to MAHAVISHNU ORCHESTRA, this isn't nearly as explosive, and really it sounds different to my ears with all the horns and strings. Liot is no John McLaughlin, but he's a talented player. We get six tracks over 40 minutes or so. This is punchy and intricate. Complex and funky at times. I'm not all-in on the horns, especially the opener which is my least favourite track. But this is an absolute favourite when it comes to 1978, which was a killer year for my music. While I am really into this whole album(most of the opener) it's that ten minute closer that I always look forward to. Of course it's that Zeuhl vibe, not just in the dual male vocals chanting but in the rhythm section as well. No wonder Blasquiz and Vander were impressed.

This is part of my "best of" jazz and related list. And a must for jazz fans.

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 Mission Suite by HINZE COMBINATION, CHRIS album cover Studio Album, 1973
4.80 | 6 ratings

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Mission Suite
Chris Hinze Combination Jazz Rock/Fusion

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars The first album in which Chris's solo work reflects a new direction--one away from the pastoral easy listening personal renderings of famous folk, popular, and classical themes. Something has got under Chris's skin and he is ALL ON BOARD with that Jazz-Rock Fusion thing!

1. "Di-da-de-lu-da" (8:08) Chris must have heard the music and work of Michal Urbaniak and his stunning vocalist wife, Urszula Dudziak, because this song bears a very strong resemblance to the music that these two had been making in Germany before they emigrated to the United States (in September of the very year this album was released). (The Urbaniaks had, in fact, recorded an album at Keytone Studios in this same year.) This is full-pm Jazz-Rock Fusion, noting the fact that not only was Chris paying attention to what was going on in the music world around him, but that he was listening to his collaborators, interested in growing and trying new things, and a very quick study of new styles. The sophistication and maturity of this song when compared to the music on his previous albums is truly remarkable. And John Lee and Gerry Brown and the other jazz-oriented musicians on board must have been very pleased to be "let loose" to play with the reckless abandon that was all the rage in the Jazz-Rock Fusion world. (13.75/15)

2. "Mission Suite" (14:50) very high octane First Wave Jazz-Rock Fusion, at times feeling like an amped up Miles Davis session for Bitches Brew, at others sounding very much like Mwandishi-era Herbie Hancock. Hearing John Lee let loose on his double bass during the middle section is awesome, with the gentle yet-supportive electric piano of Rob Van De Broeck. This is then followed with some unaccompanied solo electric piano. Henny Vonk's haunting Flora Purim-like vocalese returns--as does Gerry Brown's cymbal and light tom-tom play, as Rob Van De Broeck continues putting us to sleep. Chris's flute returns in the fourteenth minute to help take us to the end. I am here reminded of yet another "new direction" Chris has committed to with this album, and that is a more collaborative democratic leadership style. On his previous album releases Chris was almost never not in the lead, used supplemental musicians as mere "atmospheric thickeners" for the support of his flute. Now, this is not my favorite kind of Jazz-Rock Fusion: it's too loose and unstructured, but I commend Chris for his growth. (26.25/30)

3. "Deliverance" (11:20) Jazz-Rock Fusion that seems to be straddling the fence of whether or not it wants to be rock- pop like SANTANA or jazz-rock-classical fusion like Eumir Deodato, Herbie Hancock, or Freddie Hubbard. It gets good in the fifth minute as Chris really gets involved with his spirited flute play. He is really good! And the band rises to the occasion around him--as if inspired by his contagious and almost-reckless enthusiasm. Again I am more reminded of Mwandishi-era Herbie Hancock and friends during this motif. By the end of the eighth minute Gerry, John, and Rob really have the band cruisin' along with the force rivaling anything Chick Corea's RTF ever did--even in their peak Romantic Warrior days. (No wonder Gerry was chosen to take Lenny White's place for the end of the Return To Forever wagon train.) A song that gets better and better the further into the song you go. (18/20)

4. "The Ballad" (3:49) steady piano chord play with bass, drums, electric fuzz guitar, frantic flute and sitar pull off a remarkable little jam. (9/10)

5. "Bamboo Funk" (5:26) a song that starts very delicately--almost like a psychedelic folk song--but then it starts to turn into the real groovin' tune it becomes at the end of the first minute. John Lee's infectious bass play seems to amp everybody up as electric guitar, drums, and electric piano start really giving more in the second and third minutes. At 2:20 Chris enters with his flute--which becomes more and more impassioned as the song progresses--as everyone participating over John Lee and Gerry Brown's passionate play in the rhythm section begins to get infected. Actually, virtually everyone becomes part of the impassioned rhythm section of this great song--including Chris, Henny Vonk, and Sigi Schwab's manic-strumming 12-string acoustic guitar. How fun! What a great send off for both the band members and the album listeners! (9.5/10)

Total Time 43:33

I love the spirit of Chris Hinze's new direction--which results in some truly top notch First Wave Jazz-Rock Fusion.

B+/4.5 stars; a near-masterpiece of surprising Jazz-Rock Fusion. I'm inclined to want to bump this up to five stars due to the amazing leap forward Chris has taken and for the high, high quality of compositional daring and performative enthusiasm he created here. Mega kudos, M. Hinze!

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 The Eleventh House: Aspects by CORYELL, LARRY album cover Studio Album, 1976
3.51 | 16 ratings

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The Eleventh House: Aspects
Larry Coryell Jazz Rock/Fusion

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars For some reason the timeline of Larry Coryell album releases (and recording dates) is jumbled due to his prodigious production output (three albums in 1975, three albums in 1976, two in 1977, four in 1978, two in 1979, and two in 1981).

1. "Kowloon Jag" (5:48) opening with some raw, distorted electric guitar chord play Larry is giving the listener notice with this composition of his that this album is going to be a heavy and aggressive collection of songs similar to those presented to the world with CHICAGO's first three albums back in 1969, 1970 and 1971. The song unfolds with a syncopated jazz-rock motif with Eleventh House's usual full soundscape and an almost Al Di Meola machine gun approach to note and melody delivery from Larry. The psychedelic effects used on several of the instruments are disorienting for their scratchy, heavily distorted quality. John Lee is given quite a space to deliver a bass solo in the fullness of the fifth minute before a bass chords ushers the band to spit out a very tightly played motif of chord play to bring the song to its close. (9/10)

2. "Titus" (5:29) an interesting composition coming from rhythm guitarist Danny Toan, whose only work before this was with Larry Young's Fuel. That's a lot of confidence Larry's instilling in this youngster. What we have here is a quickly established motif that sounds as if it comes straight from James Brown's band, the JBs, horns and all. John Lee and Gerry Brown give the song a bit of a Disco feel from the bottom end, the guitarists adding to this effect, while the R&B horns spice it up like an AVERAGE WHITE BAND song. At the same time Larry grabs the lead with his loud, distorted and compressed bluesy guitar, only spelled by a brief solo from Dave Sanborn's alto sax in the fourth minute. The song kind of drags along repetitiously ad nauseum, even as Larry solos. It's just that (8.75/10)

3. "Pyramids" (5:21) some ISLEY BROTHERS/early KOOL AND THE GANG funk smooths out into some near-Disco stuff on this Mike Mandel composition. At 0:52 it then veers down a different road: somewhere in between the two. Lots of funk (even hand claps and slap-and-plucked bass!) and beneath Larry's bluesy guitar soloing. I'm a bit disappointed as I await some of his runs but only get blues scales and deeply bent notes in an almost BB King sound and style. (8.6667/10)

4. "Rodrigo Reflections" (4:39) solo acoustic guitar on this Coryell composition that sounds more like a cross between Al Di Meola, Shakti John McLaughlin, and Gene Autry. Until the fourth minute, I don't hear much that even remotely reminds me of the guitar music of Joachin Rodrigo. The horse-effect percussion spanning the length of the entire song is rather cheesy. (8.875/10) 5. "Yin-Yang" (4:42) a Lee & Brown composition, it has the mathematically rigid (and soulless) formulaic structure that is, unfortunately, often endemic to John & Gerry's songs but it is, thankfully, livened up quite substantially by the horns section, bass and rhythm guitar play, as well as Larry's electric guitar flashes. (8.75/10) 6. "Woman of Truth and Future" (6:06) though this Mike Mandel song starts out as a very pleasant and laid back spacious electric piano-led tune, it becomes a rather hypnotizing-borderline-obnoxiouss song as its second half is built over a whole-band two-bar riff that is repeated, without break, over the course of the song's final three minutes. It barely works without driving the listener crazy because it is such an unusual chord progression and melody line, but, at the same time, it is so mesmerizing that I often find myself totally tuning out the lead instruments on the top as I try to follow and figure out the odd melody path start to finish, over and over--and this is quite a feat due to the incredibly unusual "cat squealing" sounds being played over the top by Mike's synthesizer for part of that time. Unfortunately, Larry's guitar soloing in the final minute just finds itself buried in the carousel music of the rest of the band. At the same time, I rather like this song: as much if not more than any other on this album. (9/10)

7. "Ain't This" (5:02) thick, chunky rolling bass from composer John Lee is sandwiched between multiple funky keys and rhythm guitar tracks before being covered by the horn section and Larry's loud guitar. Of all the sounds Larry's used on the album up to this point, this is my favorite: it's quite raunchy but clear, like something between Jeff Beck, Ernie Isley, Hiram Bullock, and Dickie Betts & Duane Allman. Those "in-between" tracks from clavinet, electric piano, and very active and "talkative" rhythm guitar are quite amusing--make me want to come back to listen again. The horns are sharp and well-arranged, John's bass solid and tethering throughout, and Larry's guitar is some of the most enjoyable (for me) on the album. A very well developed and realized song. (9.25/10)

8. "Aspects" (4:24) back to a kind of early Kool & The Gang R&B (think "Hollywood Swingin'"). At the one minute mark everyone kind of shifts into Drive but then they hit thick highway traffic and have to make accommodations. I like the funk-R&Bness of this syncopated section. But traffic clears and smooths out and the band starts cruisin' down the highway giving Randy Brecker, Larry (using a Jan Akkerman-like guitar voice), and Mike Mandel plenty of excuses to shout out their enthusiasm for the speed and open top convertible. Definitely a top three song. (9.33333/10)

Total Time 41:31

A lot of the music on this album took many listens in order to capture all of the layers of sophistication being conveyed--an occupation that I very much enjoyed (despite the fact that R&B funk is not as much my jam as much as Jazz-funk is). Though this album may not be quite as enjoyable as its predecessor, it may offer a more mature and fully-developed selection of songs to the listener than Level One.

B+/4.5 stars; a near-masterpiece of very tight, fully-formed R&B Funky Jazz-Rock Fusion.

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  13. Larks' Tongues in Aspic
    King Crimson
  14. Mirage
    Camel
  15. Nursery Cryme
    Genesis
  16. Moonmadness
    Camel
  17. Per Un Amico
    Premiata Forneria Marconi (PFM)
  18. Moving Pictures
    Rush
  19. Hemispheres
    Rush
  20. Relayer
    Yes
  21. Darwin!
    Banco Del Mutuo Soccorso
  22. Aqualung
    Jethro Tull
  23. Io Sono Nato Libero
    Banco Del Mutuo Soccorso
  24. Hot Rats
    Frank Zappa
  25. Kind of Blue
    Miles Davis
  26. In a Glass House
    Gentle Giant
  27. Si on avait besoin d'une cinquième saison
    Harmonium
  28. A Farewell to Kings
    Rush
  29. Hybris
    Änglagård
  30. From Silence to Somewhere
    Wobbler
  31. Storia Di Un Minuto
    Premiata Forneria Marconi (PFM)
  32. The Yes Album
    Yes
  33. Metropolis Part 2 - Scenes from a Memory
    Dream Theater
  34. H To He, Who Am The Only One
    Van Der Graaf Generator
  35. Scheherazade and Other Stories
    Renaissance
  36. Crime of the Century
    Supertramp
  37. Octopus
    Gentle Giant
  38. Birds of Fire
    Mahavishnu Orchestra
  39. The Raven That Refused to Sing (and Other Stories)
    Steven Wilson
  40. The Lamb Lies Down on Broadway
    Genesis
  41. In the Land of Grey and Pink
    Caravan
  42. The Power and the Glory
    Gentle Giant
  43. Images and Words
    Dream Theater
  44. Zarathustra
    Museo Rosenbach
  45. Meddle
    Pink Floyd
  46. The Snow Goose
    Camel
  47. The Grand Wazoo
    Frank Zappa
  48. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  49. Still Life
    Van Der Graaf Generator
  50. The Mothers of Invention: One Size Fits All
    Frank Zappa
  51. Free Hand
    Gentle Giant
  52. Still Life
    Opeth
  53. Hand. Cannot. Erase.
    Steven Wilson
  54. Fear of a Blank Planet
    Porcupine Tree
  55. The Silent Corner And The Empty Stage
    Peter Hammill
  56. Häxan
    Art Zoyd
  57. Ommadawn
    Mike Oldfield
  58. Mekanïk Destruktïw Kommandöh
    Magma
  59. Acquiring the Taste
    Gentle Giant
  60. Permanent Waves
    Rush
  61. A Trick of the Tail
    Genesis
  62. Blackwater Park
    Opeth
  63. The Inner Mounting Flame
    Mahavishnu Orchestra
  64. Misplaced Childhood
    Marillion
  65. Ghost Reveries
    Opeth
  66. Space Shanty
    Khan
  67. Depois do Fim
    Bacamarte
  68. Dwellers of the Deep
    Wobbler
  69. In Absentia
    Porcupine Tree
  70. Romantic Warrior
    Return To Forever
  71. In A Silent Way
    Miles Davis
  72. A Drop of Light
    All Traps On Earth
  73. Symbolic
    Death
  74. Radio Gnome Invisible Vol. 3 - You
    Gong
  75. Script for a Jester's Tear
    Marillion
  76. Second Life Syndrome
    Riverside
  77. Obscura
    Gorguts
  78. Viljans Öga
    Änglagård
  79. Rock Bottom
    Robert Wyatt
  80. Voyage of the Acolyte
    Steve Hackett
  81. The Road of Bones
    IQ
  82. Arbeit Macht Frei
    Area
  83. Spectrum
    Billy Cobham
  84. 4 visions
    Eskaton
  85. Ashes Are Burning
    Renaissance
  86. Hamburger Concerto
    Focus
  87. If I Could Do It All Over Again, I'd Do It All Over You
    Caravan
  88. English Electric (Part One)
    Big Big Train
  89. Bitches Brew
    Miles Davis
  90. Enigmatic Ocean
    Jean-Luc Ponty
  91. Elegant Gypsy
    Al Di Meola
  92. K.A (Köhntarkösz Anteria)
    Magma
  93. Emerson Lake & Palmer
    Emerson Lake & Palmer
  94. Remedy Lane
    Pain Of Salvation
  95. Felona E Sorona
    Le Orme
  96. Sing to God
    Cardiacs
  97. Hatfield and the North
    Hatfield And The North
  98. Anabelas
    Bubu
  99. Szobel
    Hermann Szobel
  100. Crimson
    Edge Of Sanity

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

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