MousekeDance It! Street Party. De Plane! Files ". Disney Wiki Explore. Toy Story Monsters, Inc. Video Games. Oftentimes, before an album or song hits the market for fans to gobble up, various folks — think radio DJs back in the day or online music critics now — may receive a promo to listen to the music ahead of everyone else. This marketing ploy helps generate buzz and boost album sales. In the vinyl resale market, promos are viewed as extremely valuable due to their limited availability.
There are very few copies of these expensive records in existence. In fact, there are few copies of the records that rank in the top Only 20 numbered copies exist. Not much information is listed in the Database; only five Discogs users want it and three have it.
This wallet-emptying sale is the only time it has passed hands through our Marketplace. Unplayed, Mint Condition. Contains info sheet, signed record, signed art print [plus CD]. For a deeper dive into Choose Your Weapon and a chat with the artist, head here.
The Black Album has a pretty cool backstory and one that makes the high price tags attached to this work a little easer to understand. The album, originally referred to as The Funk Biblewas slated for release in late The initial marketing and design were intentionally elusive — no title, no credits, nothing. However, right before the drop, Prince demanded that the record be pulled and destroyed.
However, someone paid nearly double the price for this uncirculated, sealed LP part of the otherwise-destroyed Canadian production run that was saved by a pressing plant employee at the last minute. This Canadian copy of The Black Album took the top spot as the most expensive item on Discogs and stayed there for over two years until Choose Your Weapon came along.
Prince released the album in — for real this time — so you can get your hands on a non-exorbitant version.
A live concert interlaced with movie footage that the band had had shot, featuring actors and telling a narrative based around a roadie for said concert, it wasn't a massive success for the band, but this live album on its own merits is still very good. Because yeah, essentially, movie aspects aside, this is just another live album.
Released init shows that the band still sound great live, which is a venue in which Metallica has always flourished. With a well-rounded set that incorporates most of their major hits sixteen tracks is pretty limited by Metallica standards, but they did the Album) with what they hadit's got a good sound, and everyone's on top form.
Overall, this isn't an essential album to own, although it's very good, and has a very well-rounded and easily digestible set for any newcomers, but ultimately, Metallica have released other live albums that are more in-depth than this, making this serve as nothing more than something for collectors and fans to own. Copyright Prog Archives, All rights reserved. Please consider supporting us by giving monthly PayPal donations and help keep PA fast-loading and ad-free forever.
Though METALLICA's music gradually became less progressive with each subsequent release, their first four records are amongst the most forward-thinking in metal's history, and have been widely regarded as masterpieces without which the progressive-metal genre would not be what it is today.
It all started when Danish drummer and amateur tennis star Lars Ulrich moved from his homeland to the United States in This latter one played a particularly important role in the drummer's development when they allowed him to tour with them after he went to see the group play live in the United Kingdom in After unsuccessfully trying out Lloyd Grant on the first recording of "Hit the Lights", which was met with favorable comments from the underground metal community, Area X - St.ride - St.ride (CD found a more stable line-up when they hired Dave Mustaine to replace him.
With Hetfield's high school friend Ron McGovney joining them on bass, they re-recorded "Hit the Lights" for the second edition of the Metal Massacre compilation and several other demos that helped them make their name known in the world wide metal underground. McGovney wouldn't last long as his lackluster skills were soon eclipsed by the mastery of the instrument that Hetfield and Ulrich were able to behold in the hands of Cliff Burton when they saw him McGovney wouldn't last long as his lackluster skills were soon eclipsed by the mastery of the instrument that Hetfield and Ulrich were able to behold in the hands of Cliff Burton when they saw him performing live with his band TRAUMA.
They fired McGowney and hired Burton. The line-up changes didn't end here, though. ByUlrich and Hetfield were already tired of Mustaine's constant drug and alcohol problems, and forced him to leave the band. This progressive approach was taken a step forward with 's "Ride the Lightning", which received even more recognition from the metal community and started to pull the band out of the underground scene. Songs were longer, structures started to get more complicated, riffs were further developed and expanded upon, and acoustic passages were introduced in seminal songs like "Fade to Black".
By now, it was evident that the band was something special and that an explosion was waiting to occur. That explosion came in the form of 's legendary "Master of Puppets", arguably heavy metal's greatest album and without question one of the most important and influential albums in the history of progressive-metal.
The album enjoyed great commercial and critical success, and until this day is heralded as the highest point in the band's career. The progressive approach to songwriting that had bneen explored in earlier efforts was finally perfected.
Songs were longer, much more complex, with intricate riffs and constantly-changing tempos; odd time signatures started to appear; guitar solos were not only lightning-fast but also structurally logical; acoustic sections were integral part of songs; dynamics, intensity, speed were factors intelligently worked upon and developed in the record's 8 tracks. The riff-thematic development that was studied in the past was mastered by now. Many genre's experts argue that "Master of Puppets" is actually a true and probably the first real progressive-metal record.
The sudden death of the very talented musician left the future of the band in jeopardy. Hetfield and Ulrich decided to carry on. And Justice for All". In this new production, the songs were even more complex, a fact exemplified by the title-track, a minute metal juggernaut filled with constant riff changes but at the same within a very logical and tight structure.
Even the fastest, most thrash-oriented songs like "Blackened" were longer and multi-sectional now. Basically 'Part 3' and 'Part 4' alternate through more accessible passages and highly experiment formless efforts. It all ends with an energy that could almost be considered early heavy metal if only there was a Tony Iommi guitar stomp leading the pack.
Firstly, the opening track is stylistically too similar to the debut album and doesn't sit well as leader of this more sophisticated progressive rock pack and while Mont's vocal style is perfectly integrated into the following 'Contrasong,' the opener just doesn't work for me in relation to the rest of the album which makes it all seem unbalanced no matter how great the album becomes. Secondly, the album could've been much more interesting if the sax and trumpets were on ALL the tracks instead of just the second.
The jazzy vibes of 'Contrasong' should've been relegated to sally forth into the great unknown thus adding even more brass fueled textures to the avant-garde mix and thirdly, Stewart relied too much on the sonic organ textures of the 60s instead of expanding the possibilities into the more inventive styles that were at hand.
Oh well, a critic some five decades into the future am i, but do not let me dissuade anyone from experiencing this absolute delight of Canterbury infused prog period piece from While not perfect according to me, it is nonetheless an excellent slice of music freak fineness and for that i am eternally grateful.
EGG was one of the early pioneers of complex music in a rock paradigm. While bands like The Nice, The Moody Blues and Deep Purple were creating new exciting sounds by mixing 60s psychedelic rock with symphonic classical music, EGG took those early aspirations into a much more demanding field and into the arenas Area X - St.ride - St.ride (CD the big boy's club with early bands like King Crimson, East of Eden and Marsupilami. EGG's debut was built around Baroque classical chops inspired by J.
Bach as well as the overarching prowess of Igor Stravinsky but accompanied those classical workouts with a heavy groovy bass and a sophisticated jazzy drumming style that took EGG into its own world from the very start. The band's quirky whimsy as evidenced by the hilarious track titles such as "The Song Of McGuillicudie The Pusillanimous or Don't Worry James, Your Socks Are Hanging In The Coal Cellar With Thomas " along with a healthy love of avant-jazz interpolations earned them a coveted seat in the Canterbury Scene due to Hillage's connection but this debut album at least comes off more as some fo the earliest symphonic prog.
With a trippy series of noises leading the way, the album then kicks off with Stewart's distinct organ talents as he riffs a rather accessible and hook filled run while Campbell adds a groovy bass line and lower register vocal style.
The first two tracks set the groove of the organ led rock sounds no guitar here whatsoever but tracks like "Fugue In D Minor" and the sprawling 22 minute plus "Symphony No. Also adding some bizarre variations to the album are short little filler numbers such as the piano dominated "They Laughed When I Sat Down At The Piano," "Boilk" and the opening "Bulb" which offer some of the earliest industrial sounds that i've heard.
While these short avant-garde snippets may have been added for an interesting contrast, it seems likely that many of the later Nurse With Wound type projects were possibly influenced by them. For the most part the album is based on organ fueled melodies with an accompanying lyrical vocal delivery.
At least until "Symphony No. After the freaky industrial bleakness of "Boilk," which implements a concentrated delivery of avant-garde progressiveness, the final "Symphony No. While "Movement 1" is a continuation of the Western classical interpretations with parts of Grieg's "In The Hall Of The Mountain King" and in all honesty wouldn't have sound out of place on one of The Nice's albums with the Emerson styled keyboards, by the books rock backing in the vocal free zone, "Movement 2" lets the experimentation begin.
While Stewart focuses on classical organ runs to keep the melodic drive going, Clive Brooks delivers some stellar drumming styles that take jazzy rolls and rock standards and juxtaposes them into a mishmash of wizardry. The track works its way into a very strange atmospheric frenzy which paves the way for the next track "Blane" which deviates completely from the classical rock formula. Unlike anything else on the album, "Blane" delves into the bizarre freaky world of electronic manipulation and bizarre experimentation.
The track babbles and bloops and bleeps on for over 5 minutes and yet provides enough moments of melody to keep the listener grounded despite the intense industrial bleakness that ends it.
Rightfully nixed due to the fact that borrowed too heavily from the Stravinsky classic and had legal issues because of it Area X - St.ride - St.ride (CD still provides a decent series of organ runs, a stomping decent drum and bass delivery and sounds like something right out of Gustav Holst's playbook from his orchestral suites in "The Planets.
The newer CDs have two bonus tracks "Seven Is A Jolly Good Time" and "You Are All Princes" which are well worth the inclusion as they include a wealth Album) off-kilter time signatures and fit into the original album's flow perfectly. EGG is a phenomenal album considering all three of its members were only in their teens. Despite the youthful energy on board, this debut is surprisingly mature as if it was created by a band of seasoned professionals.
The album finds the perfect balance between symphonic prog bombast, traditional classical interpretations, 60s psychedelic rock vibes and touches of otherworldly avant-garde mind freakery. While excellently performed the album does sound like a product of its time with those instantly identifiable sounds of the organ, mellotron and tone generators that pinpoint it to the timeline.
Eric Alexander & Vincent Herring - The Battle (CD, Album), Kemal - Manos Hadjidakis / New York Rock & Roll Ensemble* - Reflections (Vinyl, LP, Album), Repülj Kismadár - Cserháti Zsuzsa - Édes Kisfiam (Cassette), My Little Red Book - Nirvana (2) - Orange And Blue (CD, Album), Les Moustiques Du Bas-Languedoc - Pierre-Jean Vaillard - Histoires De Rire Avec... (Vinyl, LP), Clannad - Pastpresent (CD), Kalenderdaten - Sofa Surfers - Komm, Süsser Tod - Soundtrack + Filmdialoge (CD), Twilite Speedball - Mos Def - The Ecstatic (CD, Album), Sunshine Of Your Love - Eric Clapton - The Cream Of Eric Clapton (CD), I Cannot Justify - Adrienne Young & LIttle Sadie - Plow To The End Of The Row (CD, Album), Run It (Main) - 1200 Beats - Run It / Holla Back (Vinyl), A Million Engines (WANT/ed Short Mix) - !distain* - A Million Engines (File), Various - Thunderdome XVI - The Galactic Cyberdeath (Cassette)