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  Split Seconds by MILLER, PHIL album cover Studio Album, 1989
3.61 | 16 ratings

Split Seconds
Phil Miller Canterbury Scene

Review by Warthur
Prog Reviewer

3 stars Split Seconds is Phil Miller's followup to Cutting Both Ways, and just like that release it's split between band tracks performed with In Cahoots and more intimate pieces recorded with the help of Dave Stewart and Barbara Gaskin, who'd been forging their own skewed pop sound since the disintegration of National Health.

At its best, it's more of the same; however, there are a few too many moments where the songwriting is thin enough that the thin 1980s production standards really show, and they have dated quite poorly. (I'd be interested if anyone knows just why so many Canterbury artists in particular seemed to come unstuck in the production department in the 1980s.) This feels, in fact, like an album consisting of off-cuts from Cutting Both Ways, and whilst that one manages to overcome the difficulties of the era, this one can't quite escape their gravity well. As it turns out, one course of 1980s In Cahoots is enough for me - I can't manage seconds, even if I split 'em.


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 One World by MARTYN, JOHN album cover Studio Album, 1977
3.63 | 25 ratings

One World
John Martyn Prog Folk

Review by Warthur
Prog Reviewer

4 stars This is an odd little album that finds John Martyn teaming up with Steve Winwood, whose organ playing adds jazzy, funky accents to Martyn's already typically laid-back sound. The end result is a weirdly sunny-sounding album which sort of resembles a folk rock artist's attempt to figure out what reggae sounded like based only on some rather vague descriptions. A strange mix, yes, but somehow an intoxicatingly catchy one, making this stylistic experiment a resounding success. Despite the fact that it its further outside the usual folk rock sphere than either Bless the Weather or Solid Air, somehow this manages to be the most accessible of Martyn's 1970s works.


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 Invention of Knowledge by ANDERSON/STOLT album cover Studio Album, 2016
3.69 | 176 ratings

Invention of Knowledge
Anderson/Stolt Symphonic Prog

Review by BunBun

3 stars When I read that Jon Anderson and Roine Stolt would collaborate, I thought 'Why hasn't this happened sooner?' Well, after returning to this album several times over a period of half a year, I can safely say that I'm thoroughly disappointed with the outcome. Now, this is not a bad album but it is neither great. The problem is the lack of diversity within the album. Each song blends seamlessly into the next and it's hard to know that you are on track four when it still sounds like track one.

The vocals are always out front, and Anderson's vocals are still good considering his age, but I was hoping Stolt would at least contribute one vocal track to the album. It would have adding some needed change. Then there is a distinct lack of instrumental sections. Where is the energy? There is one short jazzy instrumental section at the end of 'Everybody Heals,' yet after about ten listens over the past half year, I was hoping for more than two memorable minutes from the album.

And that sums up the experience for a me. A nice, mellow, uplifting album but utterly forgettable. 2.5 stars from me because two stars seems a bit too low so I'll just round it up to three.


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 Cinemanemico by NICHELODEON album cover Live, 2008
3.47 | 8 ratings

Nichelodeon RIO/Avant-Prog

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

4 stars Take a strong melody, surround it with noises coming from an electric guitar in the likes of the modern composer Rominetti (Claudio Milano has introduced me to his music), add very raw and harsh lyrics. The album opener "Fame" (Hunger) makes immediately clear which kind of music this album contains. What I think i s the principal characteristic of Nichelodeon, other than the great skill of the band members plus the great voice of Claudio Milano, is the mixture of strong melodies and Avantgarde arrangements. With RIO and Avant music it doesn't happen frequently to find melodies able to fix in your mind and resound for hours and hours. "Fame" is an excellent opener. Piano and voice are the melodic instruments while the others make the noise. "La Mosca Stregata" (The haunted fly) starts instrumental in a sort of chamber rock intro. Art Zoyd is what comes to mind, but after the intro Claudio and the piano go classical. It's incredible how a composition by haendel (from Rinaldo if I'm not wrong) is totally transformed into a psychedelic noisy improvisation which fades into what I personally consider the best song ever released by Nichelodeon.

"Malamore e la Luna" (Badlove and the Moon) is exactly what I was thinking about when i have mentioned melodies which remain in your mind and resounds for days. Try to listen to it just a couple of time and it won't leave your mind.

"Amanti in Guerra" (Lovers in War) is again based mainly on piano and voice. A slow and melodic song with dramatic lyrics. Less noise than on the other tracks.

"La Torre Piu' Alta"(The Highest Tower) is opened by Claudio's vocalizations reminding of Demetrio Stratos. A difficult track which has also been performed live with Walter Calloni (Area). The dark atmospheres like those of Art Bears permeate the track until the vocals stop. The instrumental part is quiet and sad with a strong RIO flavor, especially when it "wakes up" and Claudio is back in a sort of reprise. Funny...he then reads receipts like a chef and tells a story about "gnocchi" disappeared from the end in a coda made of electronic noise and vocals. The reason is that this song was part of a multemedial performance written by Pellegrino Artusi:

"Cio' Che Rimane"(What's left) brings the melody back to change into a piano riff remainding of Keith Emerson which backgrounds the track with bass notes while the synth takes the lead. Try to separate the melody from the other instruments. Anyway any little piece has its place. The noisy and the melodic parts are very well integrated. I just wonder how much of it is improvised.

"Flower Of Innocence" gives more room to the guitar which here reminds to Fripp and the early King Crimson. It's a short evocative track which can feature in a movie or a documentary soundtrack.

"Disegnando cattedrali di cellule Pt.II" (Drawing Cathedrals of cells Part II) is back to chamber rock. One of the most experimental tracks of an experimental album. A very dark track in the vein of Art Zoyd. In particular I think to Generation Sans Future. Again a menu is read and the final features a jazz vocal solo backed by the crazy arrangements which are omnipresent in this album.

"Il Ladro di Giochi" (The toys thief) Despite the Italian title is sung in English. another crazy set of lyrics on an excellent melody supported by piano while synth and guitar make some noise around. It includes a ghost track which is noisy and chaotic. Perfect for who loves the genre.

An album that I personally love, Inparticular the mentioned Malamore e la Luna which I consider a little masterpiece.

4 solid stars with the temptation for the 5th.


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 The Clockwork Fable by GANDALF'S FIST album cover Studio Album, 2016
4.02 | 121 ratings

The Clockwork Fable
Gandalf's Fist Neo-Prog

Review by chiang

5 stars This is a great album!!! Never heard of "Gandalf's Fist" before and, being a Tolkien's fan, I have to say that I came here cause the name. But I found a great band (or a great musician, cause most of the music is Marsh's work). Three C.D.s, three hours, lot of good songs, a nice story (better than most on lots of concept albums). The idea of the interspersed radio play bits is nice but I don´t like to listen to them more than twice; fortunately I can skip them. "The Lamplighter" is a great epic. "The capture", "Victims of the light" and "Fight for the light" are very good also. In fact I like all the songs, and the musicians are very well chosen. Every moment of the story has a correct musical feelling. The album cover (the whole pack in fact) is a very good work, dark but beautiful. I don't miss the old 12in paperboard anymore. One of the best albums from 2016.


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 Nibelungenlied by GERMAN OAK album cover Studio Album, 1976
4.52 | 16 ratings

German Oak Krautrock

Review by Modrigue
Prog Reviewer

5 stars Nibelungs on heavy acids

Second release by instrumental quintet GERMAN OAK, "Niebelungenlied" (The Song of the Nibelungs in English) is a compilation of unreleased and rare material recorded between 1972 and 1976. Compared to their eponymous debut, there are things that remain constant: after WWII, "The Rhine Gold" is another "German" thematic, the cover art is once again not really attractive, the sound quality hasn't improved but the band still explores unusual sonorities.

A copycat of the self-titled opus then? Not at all. If the atmosphere is overall still sinister and psychedelic, the music is much more structured, concise, varied, emancipating from the shores of Krautrock. Shorter and less improvised, the tracks features more changes and the fuzzy guitars are heavier, resulting in somber, stoner and melancholic sonic adventures. Trippier and even more surprising than its predecessor, this second offering never loses the listener.

"The heroic deeds of Siegfried" starts with bells and a small saturated guitars passage sounding like Black Metal several years ahead! It then alternates between a slow heavy psych tune and drum solo. The stoner space-rocking "Nibelungenlied I" is powerful and devastating. This title sometimes gets as epic as HAWKWIND! The main theme of the distorted bluesy "Gunter & Brunhild" can remind the bass-line of "On the Road Again" at times. Concerning "Hagen von Tronje", this track is a dark jam in the style of the first album, while "Siegfried's death" is another heavy stoner.

However, the most surprising composition is certainly the gloomy "Dankwart, Ruediger & Hildebrand". Contrasting with the rest of the record, it simply predates Gothic rock, a few years before the emergence of the genre. Wow! "Dietrich von Bern" is melancholic and beautiful whereas "Nibelungenlied II" is a boosted-up and extended version of "Nibelungenlied I", with numerous spacey changes. This 12 minutes track is maybe the most impressive of the disc, as it can easily dispute the HAWKS's space captain insignia. A dark stoner mini-universe, a burning sonic magma exploding in multiple musical pieces! Mindblowing! Like its name suggests, "Lament" closes the record on a fine sad note.

Once again, it's a pity GERMAN OAK didn't get more success and attention. Really good compositions, original approaches, uncommon sonorities, and even some innovative ideas. Furthermore, the band evolved and explored something different on this astonishing and unique release. For all these reasons, "Niebelungenlied" is a rare black meteorite, a precious gold nugget from space that shall not be forgotten during your space rock exploration.

Contrarily to their eponymous album, we can difficulty hear the link with the thematic, except the epic breath... Nonetheless, there are no lengthy passages and the listener's interest remains constant. If GERMAN OAK's self- titled debut was an experience, this disc is a adventure to the meeting of Nibelungs from another planet. Don't miss it if you enjoy stoner / space rock, and HAWKWIND!


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 Vida (Sons do Quotidiano) by CID, JOSÉ album cover Singles/EPs/Fan Club/Promo, 1977
4.29 | 20 ratings

Vida (Sons do Quotidiano)
José Cid Symphonic Prog

Review by VianaProghead

4 stars Review Nº 102

"Vida (Sons Do Quotidiano)" is the only solo progressive EP of José Cid and was released in 1977. The line up is José Cid, José Moz Carrapa, Zé Nabo and Guilherme Scarpa Inês.

"Vida (Sons Do Quotidiano)" became to be Cid's first journey into progressive rock world as a solo artist. Quarteto 1111, the original band of Cid, broke up and then he decided go solo and continued on, in the progressive rock direction. However, before he released his so acclaimed sci-fi album "10.000 Anos Depois Entre Vénus E Marte", first he released an EP in 1977 called "Vida (Sons do Quotidiano)", which is also loaded with lots of Mellotron, Mini Moog, and string synthesizers. So, we can say that somehow "Vida (Sons Do Quotidiano)" was a prelude, a kind of a test, precisely in the year before, for what would appear in the following year, his only solo progressive rock album.

At the risk of being wrong, since it's a personal interpretation, I really think that "Vida (Sons Do Quotidiano)" has a very personal and political attitude of the composer. This became to be a special EP for Cid and, I would even dare to say, very important for the new attitude that the country needed to take after 25 April 1974, the day of our revolution, the day that brought to us the hope we needed so desperately. "Vida (Sons Do Quotidiano)" is widely considered as a prequel to the masterpiece, "10.000 Anos Depois Entre Vénus E Marte" and one of the greatest music hits of Cid's career.

However, "Vida (Sons Do Quotidiano)" has nothing to do with the concept of "10.000 Anos Depois Entre Vénus E Marte". This time we don't have a sci-fi story but an earthly story, a story of everyday life so common to many of us. "Vida (Sons Do Quotidiano)" is a conceptual EP with more than 12 minutes, following the path of life from birth to death. The lyrics are once more in Portuguese, a trademark of almost all the Portuguese progressive rock bands in the 70's. It starts with the doctor who performs the birth of a child and ends with the automobile accident that interrupts the life of the adult, with clarity and common lyrical mastery in all progressive discography of Cid. However, the most magical and even more political moment on the EP is reserved for the little phrase of the girl with the reference to "love, freedom and peace among men", a very usual motto used in Portugal after the April revolution, adding to this EP, the same political subject of the album of Quarteto 1111, "Onde, Quando, Porquê, Cantamos Pessoas Vivas".

This release follows the same musical direction of his predecessor album with Quarteto 1111, "Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas". The presence of the synthesizers and the mellotron extend the musical connection with all these instruments holders of a sound very often used by the large and best progressive rock bands of the 70's, such as King Crimson, Genesis, Yes, Pulsar, Le Orme and Van Der Graaf Generator, only to mention a few of them. As a conceptual album the music flows naturally and progressively all over the theme, despite the usual cut between the two sides of the record. The symphonic progressive component of the album is more pronounced in the final phase of the track after the car accident. However the entire track has a more symphonic sound than the early psychedelic aspects of the beginning musical career of Cid with Quarteto 1111. It follows the more symphonic path of the previous album of Quarteto 1111, "Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas" and opens the door to his next album "10.000 Anos Depois Entre Vénus E Marte", an album strongly influenced by the symphonic progressive rock bands of the 70's.

Conclusion: Despite being perhaps a farfetched interpretation and even exaggerated of the EP, what is really important in my perspective, is that all progressive discography of Cid circulates around the values of life, liberty and feelings. We have racism and immigration one the first album of Quarteto 1111, we have freedom and peace on their second album, we have self-destruction of the human race on his solo album and we have the life of an ordinary person on this EP. So, it wouldn't be so surprising that Cid had intended to portray life in one of the most turbulent periods in Portugal, and add a more political component to a song that tries to cover the life of a human being in just over 12 minutes. By the other hand, the increase of the quality of his music, in terms of progressive rock music, is perfectly seen on this EP which would be even more evident on his following album "10.000 Anos Depois Entre Vénus E Marte". This work with only 12 minutes long of Cid is really an amazing piece of music. It's short, and we progressive rock fans for sure wanted that he could make much more. And as that didn't happen, what we really can do is enjoying this great short working that gets us out of our daily sounds in an incredible way. However, what can impress me most are the regularity and the increasing of the quality of his working in Quarteto 1111 and as a solo artist. That always impressed me very much. I always thought that Cid was born in the wrong time and place. If the circumstances were somehow different, maybe he could be one of the greatest names of the progressive rock music in the 70's. Maybe.

Prog is my Ferrari. Jem Godfrey (Frost*)


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 Softs by SOFT MACHINE, THE album cover Studio Album, 1976
3.78 | 183 ratings

The Soft Machine Canterbury Scene

Review by Greta007

4 stars Just forty years late in making this review and rediscovering this album after having owned the vinyl disc back in the Paleozoic Era, which I wasn't wild on at the time TBH. In retirement I've been catching up with old music that I'd missed. Unlike most, I find much of Soft Machine's much lauded, and more progressive, albums almost unlistenable and their Harvest period much more approachable without ever selling out.

Track by track:

1. Aubade (1:51) - a gentle pastoral guitar / alto sax duet - enjoyable background without being naff

2. The Tale of Taliesin (7:17) - Jenkins's atmospheric and hypnotic keyboard ostinato leads to an exotically tuneful head. This sails along gorgeously for a while before being abruptly interrupted by a brutally-shredded odd time guitar solo section.

Once the listener is beaten into submission the band slows back to the head, leading to a grandiose outro. (At the time of writing there is an outstanding YouTube live clip of this tune with a young Alan Holdsworth playing superbly, as John Etheridge does on this version). At this point they are sounding like an instrumental prog band with fusion influences). My favourite track on the album.

3. Ban-Ban Caliban (9:22) - the other epic-y piece, starting with a stereo-toggled electro synth sequence. This early early part of the the track reminds me of Passport's Ataraxia album - if Jazz Krautrock fusion isn't a category, it probably should be. New saxophonist, Alan Wakeman, soon enters and has his first chance to stretch out on the album, with some fine soprano work.

As the tune progresses the album for the first time sounds like the old Soft Machine of old before a bizarre, jarring change heralds in John Etheridge for another fast, old-time shred-fest duel with the similarly hyperactive Marshall.

Bassist Roy Babbington continues to play selflessly, holding the mayhem together akin to Rick Laird's anchor role on MO's Birds of Fire. Then a return to the "Krautrock fusion" Passport feel leading to the end with added drive and marimba. Excellent.

4. Song of Aeolus (4:31) - slow, atmospheric 6/8 tune in the vein of Jeff Beck's Goodbye Pork Pie Hat cover or John McLaughlin's The Unknown Dissident (which almost certainly took the same inspiration) but with more of a Floydish spaceyness. Luscious, soulful music. Excellent.

5. Out of Season (5:32) - Karl Jenkins loved beautiful, stately, hypnotic piano ostinatos, seemingly inspired by Philip Glass's minimalism. Etheridge joins with a melodic and sophisticated head and the rest of the band work around the ostinato. Nice.

6. Second Bundle (2:37) - starts with more of Karl Jenkins's psychedelic new-agey keys (move over Miquette Garaudy) - enjoyable background music without being naff

7. Kayoo (3:27) - drum solo piece by John Marshall. Musical use of bells and space early gave way to cacophonous shredding. At this length, it would probably work well live but is wasted in the studio IMO (maybe should have been a coda consisting of just the first minute)

8. The Camden Tandem (2:01) - drum duet between the two Johns - Etheridge on guitar and Marshall on drums. I guess it wouldn't be Soft Machine album without at least some fierce harshness. This tune is seemingly inspired by Mahavishnu Orchestra's Noonward Race and, especially so, by King Crimson's Groon (which I much prefer to either).

9. Nexus (0:49) - a lovely grandiose introduction to the next tune. Why did they make it a separate tune? No one knows.

10. One Over the Eight (5:25) - let's get down, baby, it's Funkytime! Well, it started out funky and again reminded me of Ataraxia's edgy moments with a stylish and intelligently-built sax lead. The jam gradually loosens and intensifies until a new bass riff is introduced and, with Wakeman's tenor by now honking, wailing and squawking we're sounding more like the old Soft Machine again before the entire thing falls into a horrid cacophony that thankfully, bot not too soon, shifts into a 6/8 outro. As a drummer, I find that cacophony is far more fun to play than to listen to. Otherwise excellent.

11. Etika (2:21) - during this era it was fashionable to let the guitarist have an acoustic tune for variation. This is that track, arguably better than most, and enough edge to be more than background.


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 In The Passing Light Of Day by PAIN OF SALVATION album cover Studio Album, 2017
4.23 | 55 ratings

In The Passing Light Of Day
Pain Of Salvation Progressive Metal

Review by Hrvat

5 stars 'In the Passing Light of Day' is an amazing return to form for the legendary Pain of Salvation, a band which I've been a long time fan of but a band with which I've ultimately been disappointed by in their post Be output. What you will find in this now album is probably the most representative work of their discography. It takes bits and pieces of everything they've done, we see the return of the heaviness and syncopated riffing from 'Entropia' and 'One Hour by the Concrete Lake'. We see the return of the beautiful emotional and lush melody of 'The Perfect Element' and 'Remedy Lane'. Yet it still retains much of the rawness of the Road Salt albums, however without the 70s retro hard rock aesthetic and production, this is a very modern sounding release as the band has embraced being a prog metal band once more.

The highlights of the album are without doubt the three epic tracks 'On A Tuesday', 'Full Throttle Tribe' and the title track. The other shorter track are also fantastic as the album feels so cohesive, really capturing what makes a great concept album in a way we haven't heard from the band since Be. This album takes you on an emotional journey, one that is essentially of Daniel Gildenlow coming to terms with his brush with death when he fell victim to a flesh eating bacteria. You hear the anger and the despair throughout, the kinds of powerful emotions that used to be a trademark of the band but went missing on more recent albums.

It also needs to be pointed out the role of Ragnar Zolberg who joined the band after Road Salt 1 and 2, who co wrote much of the new album with Daniel Gildenlow, giving Gildenlow a significant writing partner which he hasn't had since the early days with Daniel Magdic. His presence has really breathed new life into the band. His vocals are also a fantastic addition, really complementing the vocals of Gildenlow.

Overall this album has really blown me away and has reinvigorated my love for Pain of Salvation. This really is a new dawn for the band and now I cannot wait for what the future holds.


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 All Will Be Changed by FRUMPY album cover Studio Album, 1970
3.60 | 56 ratings

All Will Be Changed
Frumpy Eclectic Prog

Review by Tarcisio Moura
Prog Reviewer

3 stars I had never heard of this German band until recently, when a friend borrowed me their interesting debut album. I was expecting some kraurock ou space rock stuff and instead what I got was a very blues-rock instrumental trio without guitar (only keyboards, bass and drums) backing a unique vocalist. I was quite surprised by their singer Inga Rumpf: her strong, low registered, bluesy vocals could easily pass by as a man´s voice sometimes. The results are quite stunning, although hardly groundbreaking: in fact, if they were american or english they would be just another band in the same vein of Atomic Rooster, Paladin or Chicken Shack. There are some experimentalism thrown in here and there, but quite what was expected from the time, including the infamous drum solo (a short one, fortunately). For most of the time french keyboardist Jean-Jacques Kravetz runs the show with his above average skills on the Hammond organ, but the rhythm section is equally very good and versatile.

The songs are ok, I guess. Not really my cup of tea, but good for the style and sometimes Kravetz adds some classical influenced themes for good measure, which I liked. They were surely different from most that was being produced in Germany. And certainly they had both the skills and knack for writing decent songs to develop their sound much further.

If you like the style, go for it. Frumpy could be on par with the best organ based blues rock bands of the time. Although All Will Be Changed was not a CD that shook my world, it did spur my curiosity enough to try to get its follow up. And the music here is quite enjoyable too. A nice discovery.

Rating: 3,5 stars.


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  88. Muzikman (263)
  89. Slartibartfast (257)
  90. clarke2001 (254)
  91. The T (249)
  92. FragileKings (240)
  93. GruvanDahlman (238)
  94. Andy Webb (237)
  95. Bj-1 (235)
  96. aapatsos (233)
  97. 1800iareyay (225)
  98. poslednijat_colobar (223)
  99. js (Easy Money) (222)
  100. Raff (217)

List of all PA collaborators

  1. Close To The Edge
  2. Selling England By The Pound
  3. Thick As A Brick
    Jethro Tull
  4. Wish You Were Here
    Pink Floyd
  5. In The Court Of The Crimson King
    King Crimson
  6. Foxtrot
  7. Dark Side Of The Moon
    Pink Floyd
  8. Red
    King Crimson
  9. Animals
    Pink Floyd
  10. Godbluff
    Van Der Graaf Generator
  11. Fragile
  12. Nursery Cryme
  13. Larks' Tongues In Aspic
    King Crimson
  14. Pawn Hearts
    Van Der Graaf Generator
  15. Moving Pictures
  16. Mirage
  17. Per Un Amico
    Premiata Forneria Marconi (PFM)
  18. Hybris
  19. Hemispheres
  20. Moonmadness
  21. Relayer
  22. Darwin!
    Banco Del Mutuo Soccorso
  23. Io Sono Nato Libero
    Banco Del Mutuo Soccorso
  24. In A Glass House
    Gentle Giant
  25. Kind Of Blue
    Miles Davis
  26. Storia Di Un Minuto
    Premiata Forneria Marconi (PFM)
  27. Si On Avait Besoin D'Une Cinquième Saison
  28. Aqualung
    Jethro Tull
  29. A Farewell To Kings
  30. Birds Of Fire
    Mahavishnu Orchestra
  31. Hot Rats
    Frank Zappa
  32. Still Life
  33. Meddle
    Pink Floyd
  34. Crime Of The Century
  35. Ommadawn
    Mike Oldfield
  36. The Raven That Refused To Sing (And Other Stories)
    Steven Wilson
  37. H To He, Who Am The Only One
    Van Der Graaf Generator
  38. The Silent Corner And The Empty Stage
    Peter Hammill
  39. Depois Do Fim
  40. The Mothers Of Invention: One Size Fits All
    Frank Zappa
  41. The Grand Wazoo
    Frank Zappa
  42. The Lamb Lies Down On Broadway
  43. Permanent Waves
  44. The Yes Album
  45. Metropolis Part 2 - Scenes From A Memory
    Dream Theater
  46. Images And Words
    Dream Theater
  47. Scheherazade And Other Stories
  48. The Snow Goose
  49. In A Silent Way
    Miles Davis
  50. Octopus
    Gentle Giant
  51. Hand. Cannot. Erase.
    Steven Wilson
  52. The Power And The Glory
    Gentle Giant
  53. Still Life
    Van Der Graaf Generator
  54. Mekanïk Destruktïw Kommandöh
  55. Rock Bottom
    Robert Wyatt
  56. A Trick Of The Tail
  57. Free Hand
    Gentle Giant
  58. Zarathustra
    Museo Rosenbach
  59. In The Land Of Grey And Pink
  60. Banco Del Mutuo Soccorso
    Banco Del Mutuo Soccorso
  61. Second Life Syndrome
  62. Blackwater Park
  63. The Road Of Bones
  64. Ghost Reveries
  65. Misplaced Childhood
  66. In Absentia
    Porcupine Tree
  67. Space Shanty
  68. Emerson Lake & Palmer
    Emerson Lake & Palmer
  69. Fear Of A Blank Planet
    Porcupine Tree
  70. Hatfield And The North
    Hatfield And The North
  71. Acquiring The Taste
    Gentle Giant
  72. Viljans Öga
  73. Arbeit Macht Frei
  74. Spectrum
    Billy Cobham
  75. The Inner Mounting Flame
    Mahavishnu Orchestra
  76. Hamburger Concerto
  77. K.A
  78. Rubycon
    Tangerine Dream
  79. If I Could Do It All Over Again, I'd Do It All Over You
  80. Anabelas
  81. Radio Gnome Invisible Vol. 3 - You
  82. Script For A Jester's Tear
  83. The Perfect Element - Part 1
    Pain Of Salvation
  84. Romantic Warrior
    Return To Forever
  85. Elegant Gypsy
    Al Di Meola
  86. Voyage Of The Acolyte
    Steve Hackett
  87. L'Isola Di Niente
    Premiata Forneria Marconi (PFM)
  88. Crimson
    Edge of Sanity
  89. Remedy Lane
    Pain Of Salvation
  90. Bantam To Behemoth
    Birds And Buildings
  91. Bitches Brew
    Miles Davis
  92. Felona E Sorona
    Le Orme
  93. Doomsday Afternoon
  94. Lateralus
  95. Grace For Drowning
    Steven Wilson
  96. Leftoverture
  97. Caravanserai
  98. Sing To God
  99. Part The Second
    Maudlin Of The Well
  100. Abraxas

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


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