Camel - Moonmadness [Japanese Ed. 2CD] (1976)

Year: April 1976 (CD 2009)
Label: Universal Music (Japan), UICY-94134/5
Style: Art Rock, Symphonic Rock, Canterbury Scene
Country: Guildford, Surrey, England
Time: 54:41, 73:52
Format: Flac Tracks 16/44,1 kHz
Size: 347, 437 Mb

CD1: Moonmadness - original album + 3 bonus tracks. CD2: The London Hammersmith Odeon Concert - 14th April 1976.
Moonmadness is the fourth studio album by English progressive rock band Camel. It was released in April 1976 on Decca and Gama Records and is their last album recorded by the group's original line-up of Andrew Latimer, Peter Bardens, Doug Ferguson, and Andy Ward. After reaching success with their previous album, the all-instrumental The Snow Goose, the band started on a follow-up and incorporated vocals and lyrics to the new music. Moonmadness has a loose concept with one track based on the personality of each band member: "Air Born" for Andrew Latimer, "Chord Change" for Peter Bardens, "Another Night" for Doug Ferguson, and "Lunar Sea" for Andy Ward.
Camel's popularity grew in 1975 with their critically acclaimed instrumental album The Snow Goose, which was followed by the group being voted Britain's Brightest Hope by readers of the nationwide music publication Melody Maker. In late 1975, the band spent three weeks writing new music for a follow-up album, and recorded Moonmadness in January and February 1976. At the time of release, Latimer said he was very pleased with the album despite the need to rush to finish it.
The last track, "Lunar Sea", ends with a minute-long wind-blowing effect. On some LP pressings, the record arm would skip during the end of this part and naturally return to the beginning of the effect, playing it endlessly (the "terminal groove" effect).
In the Q & Mojo Classic Special Edition Pink Floyd & The Story of Prog Rock, the album came number 23 in its list of "40 Cosmic Rock Albums".
It was voted no. 58 in the Top 100 Prog albums of All Time by readers of 'Prog' magazine in 2014 and is ranked 16th greatest prog album on progarchives.com (as of 23-07-2025).
(en.wikipedia.org/wiki/Moonmadness)

01. Aristillus (01:57)
02. Song Within a Song (07:14)
03. Chord Change (06:43)
04. Spirit of the Water (02:07)
05. Another Night (06:54)
06. Airborn (05:02)
07. Lunar Sea (09:12)
08. Another Night (single) (03:24)
09. Spirit of the Water (demo version) (02:14)
10. Lunar Sea (live) (09:50)

01. Song Within a Song (07:38)
02. Excerpts From the Snow Goose (11:03)
03. Air Born (05:12)
04. Chord Change (06:58)
05. The White Rider (09:10)
06. Preparation / Dunkirk (10:17)
07. Another Night (07:25)
08. Lady Fantasy (16:05)

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Jon Lord (Deep Purple) - Sarabande (1976)

Year: October 1976 (CD 1987)
Label: Line Records (Germany), LICD 9.00124 O
Style: Modern Classical, Progressive Rock
Country: Leicester, England (9 June 1941 - 16 July 2012)
Time: 50:06
Format: Flac Tracks 16/44,1 kHz
Size: 265 Mb

Typically, when an artist branches out from their current band for a solo outing, it is to “prove” something. Wishing to be seen as more than just “one of the guys in the band,” they want to take an excursion into the studio, hoping to demonstrate to the loyal legion of fans that they have something different to offer. This is especially true when they are not the main songwriter in said group. Jon Lord, a founding member and former member of Deep Purple, successfully found a way of sounding relevant with Sarabande, his second solo outing, without losing the respect of Purple’s fan base.
Anyone expecting a Deep Purple-sounding album will be disappointed. In this case, that may be a good thing. If you have an appreciation for majestic, brain-jarring compositions of pure musicianship, Sarabande may be the album for you. With the Hungarian Philharmonic as his accompaniment, in addition to an array of other studio musicians, including a pre-Police guitarist Andy Summers, Lord offers up eight songs of pure musical, majestic bliss. To some, it may appear Lord is just being pretentious; but to those with open ears, he is merely demonstrating that his talents reach beyond his years with Deep Purple.
In a way, Sarabande almost resembles the soundtrack, to one of Hollywood’s old-time classics, ala Lawrence of Arabia or Ben-Hur. That’s what I love about it. It is truly grand on all levels. With the musicianship and the swooping, epic-like execution of each track, there is not a moment on this mesmerizing album where the listener will fail to be impressed. Combining classical music with jazz, blues, and straight forward rock, it is an ambitious piece of work that, for the most part, succeeds, thanks to the genius of Lord’s capabilities.
(full version: https://vintagerock.com/jon-lord-sarabande/)

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Fantasia (03:32)
02. Sarabande (07:25)
03. Aria (03:48)
04. Gigue (11:10)
05. Bouree (11:07)
06. Pavane (07:45)
07. Caprice (03:13)
08. Finale (02:04)

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Camel - The Snow Goose (1975)

Year: May 1975 (CD March 1983)
Label: Deram Records (Germany), 800 080-2
Style: Art Rock, Symphonic Rock, Instrumental
Country: Guildford, Surrey, England
Time: 43:29
Format: Flac Tracks 16/44,1 kHz
Size: 230 Mb

Looking back the history, this album should be read as Camel music inspired by "The Snow Goose". Why? This concept album was composed with a reference to Paul Gallico’s Snow Goose. Right after the success of "Mirage" which stayed at Billboard’s Top 200 for a creditable 13 weeks peaked at 149, the band brainstormed the idea of making an acclaimed literary piece concept album. Peter Bardens voted for Steppen Wolf’s but Ferguson and Latimer proposed Paul Gallico’s. So the band created the music that revolved around The Snow Goose. Unfortunately, their record label failed to sign a deal with Gallico’s publishers in the hope of obtaining official blessing for the project, ideally having the author pen a sleeve note and possibly arrange a tie-in between album and tome. That’s why this tribute to our feathered friends had its title prefaced "Music Inspired By" and remained wholy wordless. [sleeve note].
Nevertheless, the streams of music featured in this album is a good one to enjoy and you may have a rewarding experience throughout some tracks. It starts off with an ambient "The Great Marsh" (2:02) which to me personally sounds like an opener for the whole atmosphere of the album. No one would argue that "Rhayader" (3:01) is an excellent track which has powerful melody combining flute, guitar and organ performed in classical influence music with medium tempo. This song has characterized the seventies music altogether with other common songs from Genesis or Yes or ELP or Pink Floyd. I used to associate this song with "Bouree" by Jethro Tull at that time because both of them are flute-based music. "Rhayader Goes To Town" (5:20) is a logical follow- up to Rhayader as it brings the music into faster tempo with great combination of guitar and organ solo with energetic beats. These two songs must be enjoyed in its entirety.
"Sanctuary" (1:05) and "Fritha" (1:19) are songs that I consider as bridges that connect to title track "The Snow Goose" (3:12) which contains guitar solo augmented with long sustain organ in the vein of Jan Akermann of Focus. Cool guitar-based instrumental. "Friendship" (1:44) is a bit boring exploration of keyboard / organ whicch may have more meaning if we can associate with certain part of the story - say our goose was running away or swimming quickly . things like that. Otherwise, it’s a meaningless bridge. "Migration" (2:01) brings the music into up-beat style followed nicely with a cool quiet passage "Rhayader Alone" (1:50). "Flight Of The Snow Goose" (2:40) explores Bardens’ keyboard virtuosity followed with good guitar fills that bring the melody of the music combined with a bit spacey keyboard work.
"Preparation" (3:58) is to me like a theme song that brings the introduction to the next track "Dunkirk" (5:19) with the use of Hammond organ as basic rhythm section plus some howling guitar work followed with guitar solo. The song is dominated with keyboard work even though guitar fills some parts and serves as melody in some other parts. It’s a good track. "Epitaph" (2:07) and "Fritha Alone" (1:40) are bridges to upbeat music with keyboard solo in "La Princesse Perdue" (4:44). Again, I can smell a similarity with Focus music, especially the guitar part. "The Great Marsh" (1:20) concludes the album with an exploration of nature sounds .
Overall, through this album the band has demonstrated their capability to maintain their creation on par excellent with their previous album "Mirage". The album offers good combined work between organ and guitar performed in various styles. The music is cohesive to support a concept album. I think this album should be "in" any prog collection as it was one of the icons in the seventies that anyone should not miss. Recommended.
(classicrockreview.wordpress.com/category/camel-the-snow-goose/)

01. The Great Marsh (02:02)
02. Rhayader (03:01)
03. Rhayader Goes To Town (05:20)
04. Sanctuary (01:05)
05. Fritha (01:19)
06. The Snow Goose (03:12)
07. Friendship (01:44)
08. Migration (02:01)
09. Rhayader Alone (01:50)
10. Flight Of The Snow Goose (02:40)
11. Preparation (03:58)
12. Dunkirk (05:19)
13. Epitaph (02:07)
14. Fritha Alone (01:40)
15. La Princesse Perdue (04:44)
16. The Great Marsh (01:20)

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Jon Lord (Deep Purple) - Gemini Suite (1971)

Year: October 1971 (CD 1987)
Label: Line Records (Germany), LICD 9.00122 O
Style: Modern Classical, Progressive Rock
Country: Leicester, England (9 June 1941 - 16 July 2012)
Time: 47:24
Format: Flac Tracks 16/44,1 kHz
Size: 208 Mb

After the 1969 classical / rock fusion Concerto for Group and Orchestra, Jon Lord was commissioned to write a follow-up. This was Gemini Suite, five long movements inspired by the members of Deep Purple, and performed live in September 1970 at the Royal Festival Hall with The Light Music Society Orchestra (the album of the concert was issued in 1993 as Gemini Suite Live). Jon Lord then recorded it in the studio as his first solo project in 1971, with the London Symphony Orchestra conducted by Malcolm Arnold and soloists drawn from the rock world. Gemini Suite was an important step for Lord and led to albums such as Windows (1974) and Sarabande (1976).
The album was originally released in Europe and America in 1971 with different cover artwork. The 1973 US reissue featured a third version of the cover artwork. In 1983 the album was re-released on LP in Germany and four years later also for the first time on CD.
(en.wikipedia.org/wiki/Gemini_Suite)

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Guitar (09:00)
02. Piano (08:07)
03. Drums (07:22)
04. Vocals (05:51)
05. Bass-Guitar (05:04)
06. Organ (12:00)

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Camel - Mirage [Japanese Ed. 4 bonus tracks + Germany Ed. AAD] (1974)

Year: 1 March 1974 (CD May 27, 2009. 1989)
Label: Universal Music / Deram Records (Japan/Germany), UICY-94131/820 613-2
Style: Art Rock, Symphonic Rock, Canterbury Scene, Progressive Rock
Country: Guildford, Surrey, England
Time: 68:08, 38:03
Format: Flac Tracks 16/44,1 kHz
Size: 426, 267 Mb

Camel’s Mirage (1974), with its iconic, cigarette-brand-referencing cover art, was a record that seemed to materialise, fully formed, from the patchouli-scented smoke of the era.
While the previous year's self-titled debut promised much, Mirage was where the band truly found their voice: a clever mix of symphonic sweep, jazz fusion and melodic subtlety that set them apart from the prog giants of the day, even if it didn't reach the same levels of success.
Built around extended suites like Lady Fantasy and Nimrodel, the album blended pastoral English whimsy with intricate musicianship, led by Andy Latimer’s lyrical guitar and Peter Bardens’ swirling keys.
Though Mirage didn’t trouble the charts on release, its reputation has only grown, even if some still confuse the group with Peter Frampton's band of the same name.
(loudersound.com/music/albums/camel-mirage)

Germany Ed. - Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

Japanese Ed. 4 bonus tracks:

01. Freefall (05:53)
02. Supertwister (03:19)
03. Nimrodel / The Procession / The White Rider (09:17)
04. Earthrise (06:42)
05. Lady Fantasy: Encounter / Smiles for You / Lady Fantasy (12:45)
06. Supertwister (live) (03:15)
07. Mystic Queen (live) (06:07)
08. Arubaluba (live) (07:47)
09. Lady Fantasy: Encounter / Smiles for You / Lady Fantasy (original Basing Street Studios mix) (12:59)

Germany Ed. AAD:

01. Freefall (05:54)
02. Supertwister (03:23)
03. Nimrodel - The Procession - The White Rider (09:18)
04. Earthrise (06:41)
05. Lady Fantasy (12:45)

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The Moody Blues - Days Of Future Passed [10 bonus tracks] (1967)

Year: 10 November 1967 (CD 2008)
Label: Deram Records (Europe), 530 663-1
Style: Symphonic Rock
Country: Birmingham, England
Time: 70:03
Format: Flac Tracks 16/44,1 kHz
Size: 383 Mb

How The Moody Blues went from R&B to progressive rock magnificence in the span of two years is perhaps one of rock’s greatest mysteries. As a rhythm-and-blues band, it wasn’t getting them anywhere so they had to change their style and sound.
Though Days of Future Passed is their second album, it’s widely considered as their debut album considering it’s the first record with their classic lineup.
It’s ambitious and grand but unlike other albums which fell short of everyone’s expectations, this one delivered. It’s consistent, cohesive, and solid. It’s basically the culmination of the band’s musical brilliance and efforts and it’s clear from the get-go that they were at the height of their creative powers. Although it achieved moderate success after its release, over the years, it has been regarded as an important album that helped shape the sound of prog-rock. Thanks to new members Justin Hayward and John Lodge, The Moody Blues were steered towards the right direction. It was a risk but in the end, it paid off nicely.
While two songs stood out - “Nights in White Satin” and “Tuesday Afternoon”, the rest were still stellar. It’s groundbreaking, revolutionary, refreshing, and unique. From haunting ballads to psychedelic tunes, it’s interesting to note that Decca Records ALMOST rejected it because they simply didn’t know how to market it. The album was clearly way ahead of its time.
Days of Future Passed is complex and grandiose. It’s a mixture of rock and orchestral arrangements with some spoken word poetry - in paper, it shouldn’t work together but listening to one song segueing into another, it blends seamlessly. This album made The Moody Blues legends.
(societyofrock.com/album-review-the-days-of-future-passed-by-moody-blues/)

01. The Day Begins (05:51)
02. Dawn: Dawn Is A Feeling (03:49)
03. The Morning - Another Morning (03:56)
04. Lunch Break - Peak Hour (05:29)
05. The Afternoon a - Forver Afternoon (Tuesday) b - (Evening) Time To Get Away (08:23)
06. Evening a - The Sun Set b - Twilight Time (06:40)
07. The Night: Nights In White Satin (07:29)
08. (Bonus) Don't Let Me Be Misunderstood (BBC Radio Session) (02:24)
09. (Bonus) Fly Me High (1967 Mono Single Masters) (02:56)
10. (Bonus) I Really Haven't Got The Time (1967 Mono Single Masters) (03:09)
11. (Bonus) Love And Beauty (1967 Mono Single Masters) (02:26)
12. (Bonus) Leave This Man Alone (1967 Mono Single Masters) (03:01)
13. (Bonus) Cities (1967 Mono Single Masters) (02:26)
14. (Bonus) Tuesday Afternoon (Alternate Mix) (04:20)
15. (Bonus) Dawn Is A Feeling (Alternate Version) (02:20)
16. (Bonus) The Sun Set (Alternate Version Without Orchestra) (02:50)
17. (Bonus) Twilight Time (Alternate Vocal Mix) (02:28)

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Renaissance - Ashes Are Burning (1973)

Year: October 1973 (CD 2006)
Label: Repertoire Records (Europe), REP 5078
Style: Art Rock, Symphonic Rock
Country: London, United Kingdom
Time: 40:43
Format: Flac Tracks 16/44,1 kHz
Size: 290 Mb

Somewhat unusually, the longest history with the band is with two outside members, composer Michael Dunford and poet Betty Thatcher, who together are responsible for the music and lyrics on all but one track of the album. Both were involved in the making of the 1970 Illusion album, but are not actual members of the band. Dunford officially joined the band with the next album. The only song Dunford was not on Ashes Are Burning to compose is ”On The Frontier”, written by Renaissance founding member Jim McCarty. Who was no longer a member of the band at this point. Confusing? A bit! Thus, Ashes Are Burning is a very rare prog album where all the material is written by someone other than the band members.
Ashes Are Burning is by far the most successful album of Renaissance’s career so far and started a three-album golden era for the band. The album smoothly blends influences from both folk and classical music (no direct quotes are spared). The semi-acoustic sound was an important part of how Renaissance distinguished themselves from other progressive bands. And the acoustic aspect was especially emphasized on this Ashes Are Burning album. Instead of electric guitars and synthesizers, it is John Tout’s classical-style piano that takes centre stage, and the impressive, gentle yet powerful, five-octave vocals of Annie Haslam, who had studied opera singing. Tout also makes restrained use of synthesizers but, pleasingly, sticks mostly to piano, which was rare for early 70s rock bands. And well, for rock bands of any era really.
Although Renaissance draws much of its influence from folk, the grand symphonic nature of the band’s music also clearly distinguishes it from the core of the folk scene. A rock-like kick to the sound is added by Jon Camp’s very Chris Squire-like bass playing and of course Sullivan’s relatively straightforward drumming. Camp and his bass are given plenty of space, as the only electric guitar on the album is on the closing title track, where guesting Wishbone Ash guitarist Andy Powell gets to squeeze in a long guitar solo.
(full version: pienemmatpurot.com/2023/10/10/review-renaissance-ashes-are-burning-1973/)

01. Can You Understand (09:51)
02. Let It Grow (04:14)
03. On The Frontier (04:55)
04. Carpet Of The Sun (03:31)
05. At The Harbour (06:48)
06. Ashes Are Burning (11:20)

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Jon Lord (Deep Purple) - Windows [Japanese Ed.] (1974)

Year: September 1974 (CD 1994)
Label: Tochiba-EMI (Japan), TOCP-8442
Style: Symphonic Rock, Progressive Rock
Country: Leicester, England (9 June 1941 - 16 July 2012)
Time: 48:50
Format: Flac Tracks 16/44,1 kHz
Size: 271 Mb

Looking back across hard rock history, stylistic parallels with certain aspects of classical music’s more bombastic incarnations are unavoidable. The full-tilt Sturm und Drang of Wagner, the opening riff of Beethoven’s Fifth (surely the allegro con brio Smoke On The Water of symphonic fortissimo) clearly presage rock’s essential elements. But back when rock was young, Elton still Reg, and Jon Lord endeavouring to fuse two largely disparate genres into harmonious union, his noble experiment couldn’t have been greeted with more horror by classicists than if he were attempting to fashion a hybrid of Jeff Goldblum and a fly.
Pop, as it still remained, was way more open to bold progression. Incredibly, record-buyers stoically avoided no less than three Deep Purple albums beforeConcerto For Group And Orchestra (technically attributed to ‘Jon Lord With Deep Purple’) finally afforded the band their first UK chart placing. Encouraged – validated even – Lord persevered. 1972’s Purps-inspired, Beeb-commissioned Gemini Suite with the LSO and Malcolm Arnold was similarly well received, but then came ’74’s Windows (co-composed with Moog-handed Eberhard Schoener).
Comprised of two extended pieces for a rock septet (that included David Coverdale and Glenn Hughes on vocals) and the Munich Chamber Orchestra, complete with complementary sopranos, it was experimental and ambitious, yet sadly a bridge too far.
(bing.com/translator?from=&to=ru&setlang=ru)

01. Continuo on B.A.C.H. (16:27)
02. Window (32:22)

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Yes - Mirror To The Sky [2CD] (2023)

Year: May 19, 2023 (CD May 19, 2023)
Label: Inside Out Music (Europe), 19658777552
Style: Progressive Rock, Art Rock, Symphonic Rock
Country: London, England
Time: 47:08, 16:30
Format: Flac Tracks 16/44,1 kHz
Size: 329, 125 Mb

Mirror to the Sky is the their first studio album with American drummer Jay Schellen as a full-time member following the death of long-time Yes drummer Alan White in 2022 (and the first without White since 1972's Close to the Edge), to whom the album is dedicated; Schellen had frequently filled in as drummer for White since 2016, and had performed percussion as a guest on the band's previous album, 2021's The Quest.
Yes started work on the album shortly before the release of The Quest in October 2021. Like for its predecessor, guitarist Steve Howe resumed his role as producer, and the FAMES Orchestra in North Macedonia provided orchestral arrangements by Paul K. Joyce on some songs. It received positive reviews from critics, some of whom considered the album superior to its recent predecessors. 
On 10 March, Yes officially announced Mirror to the Sky on social media and their official website YesWorld, revealing the cover art, release date, and track listing. They announced that the album will be dedicated to White. On the same day, the opening track, "Cut from the Stars", was released as a digital single. The second track, "All Connected", was released as a single on 26 April.
The artwork was produced by the band's longtime cover artist Roger Dean. His design was inspired by a story that video game designer Henk Rogers had told him, which involved Rogers paddling to the middle of a lake at night during a camping trip. When the ripples of the water had settled, Dean said that "the lake became a perfect mirror to a very brilliant night sky", an experience that Rogers said was like being in space. The idea caught Dean's imagination and wanted to portray such a concept into one of his designs. He added: "I started with a horizon low down with a lot of sky but then I realised, no, I'll show with ocean in the main area with a sky just a sliver, enough to show it is mirrored. Then I decided to put in a rock formation–a viewing point for the sky." An early design of the band's logo for the cover featured a colour scheme and texture based on the Nebra sky disc, an artefact from the Early Bronze Age discovered in Germany in 1999 that Howe had suggested to Dean. It was not used as the colours did not complement the rest of the design.
(en.wikipedia.org/wiki/Mirror_to_the_Sky)

01. Cut From the Stars (05:26)
02. All Connected (09:03)
03. Luminosity (09:01)
04. Living Out Their Dream (04:46)
05. Mirror to the Sky (13:54)
06. Circles of Time (04:55)

01. Unknown Place (08:15)
02. One Second Is Enough (04:04)
03. Magic Potion (04:10)

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Focus - Hamburger Concerto [Japanese Ed. K2HD] (1974)

Year: May 1974 (CD Dec 16, 2006)
Label: Victor Records (Japan), VICP-63667
Style: Progressive Rock, Symphonic Rock
Country: Amsterdam, Netherlands
Time: 43:08
Format: Flac Tracks 16/44,1 kHz
Size: 298 Mb

Hamburger Concerto is the fourth studio album by the Dutch progressive rock band Focus, released in May 1974. It peaked at No. 20 on the UK charts. The title track is based on Variations on a Theme by Haydn by Johannes Brahms. The composition also incorporates the first two verses of the Dutch Christmas carol O Kerstnacht, schoner dan de dagen at around 15 minutes, and the Third Quarter chime from the Westminster Quarters is quoted in the track's final seconds. The first track is based on a Gaillarde of Joachim van den Hove of his work Delitae Musicae.
(en.wikipedia.org/wiki/Hamburger_Concerto)
Here is, in my opinion, the strongest album by this dutch progressive rock band. This is quite some complicated music here, however, it's pretty goofy at times too. It consists of mostly lengthy tracks void of any singing (except for the yodeling at times) and they makes use of a lot of instruments not typically found in rock music. There is a lute and a flute on the opening track which gives off a very medieval sound.
The music is quite varied offering a wide range of styles and moods. Every member contributes greatly to the final sound offering a blend of organ, piano, mellotron, flute, accordion and of course electric guitar, bass, and drums. "Birth" even makes use of a harpsichord (and it's a great song too). Of course the bulk of the album is consumed by the epic instrumental title track. The band pulls out every trick in the book on this album, which makes for a very interesting listen.
(progarchives.com/album.asp?id=3448) Review by Fight Club. October 6, 2007. 5/5

K2HD: It is possible to expand digital data from low-grade formats (32kHz) up to high-grade formats with a maximum of 192kHz/24 bits with K2HD processing. For example, when a CD master is produced from an analog master tape, everything above 20kHz is cut during CD formatting. K2HD processing reproduces the lost high-frequency components almost the same as the analog master.

01. Delitiae Musicae (01:13)
02. Harem Scarem (05:52)
03. La Cathedrale De Strasbourg (05:00)
04. Birth (07:46)
05. Hamburger Concerto: a. Starter / b. Rare / c. Medium I / d. Medium II / e. We... (20:20)

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Yes - Heaven & Earth [Japanese Ed. SHM-CD] (2014)

Year: July 16, 2014 (CD Jul 16, 2014)
Label: Avalon (Japan), MICP-30060
Style: Progressive Rock, Art Rock, Symphonic Rock
Country: London, England
Time: 56:03
Format: Flac Tracks 16/44,1 kHz
Size: 400 Mb

Heaven & Earth is the twenty-first studio album by the English progressive rock band Yes. It was released on 16 July 2014 on Frontiers Records and is the first album with lead vocalist Jon Davison and the final album to feature founding bassist Chris Squire before his death in 2015. The group started preparing new material for an album during the 2013 leg of their Album Series Tour. Davison took an active approach with the songwriting, travelling to the homes of the other band members to collaborate on songs. Yes enlisted producer Roy Thomas Baker (who had previously worked with the band during recording sessions in 1979) and future Yes bassist Billy Sherwood to complete the mixing. This is the last production credit that Baker received before his death in 2025.
Heaven & Earth received mixed reviews. It reached No. 20 on the UK Albums Chart and became their highest charting album on the chart since their 1994 album Talk. It reached No. 26 on the US Billboard 200.
(en.wikipedia.org/wiki/Heaven_%26_Earth_(Yes_album))

01. Believe Again (08:02)
02. The Game (06:51)
03. Step Beyond (05:34)
04. To Ascend (04:43)
05. In A World Of Our Own (05:20)
06. Light Of The Ages (07:41)
07. It Was All We Knew (04:13)
08. Subway Walls (09:03)
09. To Ascend (bonus track) (04:33)

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Yes - Fly From Here [Japanese Ed.] (2011)

Year: June 22, 2011 (CD Jun 22, 2011)
Label: Avalon Records (Japan), MIZP-30001
Style: Progressive Rock, Art Rock, Symphonic Rock
Country: London, England
Time: 54:19
Format: Flac Tracks 16/44,1 kHz
Size: 407 Mb

As good I would have expected, "Fly From Here" sounds very much Drama era Yes, with more than a nod in the direction of their symphonic predecesors, though slightly lacks the impact of Drama and the adventurism of their early albums.
I understand the main theme songs were written during the Drama sessions but never used, they are strong Yes tracks and pleased to see them brought out "into the light" (he he!) here, all the songs are good and up to standard, Fair do's the production on this album sounds magnificent as a good Yes album should on my vinyl copy, no excuse for poor sound in this modern age of state of the art studio technology, though i've heard a few duffers over the last few years.
New singer Benoit David seems born to fill Jon Anderson's shoes, though playing safe he is a good soundalike, he slightly lacks the impact, light and shade of his predecessors but is pleasant enough to listen to, maybe he'll settle in better after a tour and be more confident on the next album.
The other legendary performers sound in fine form, their signature solos, licks and phrases are all there to enjoy again and sound refreshed from their long abscence from each other. Yes has had many trials and tribulations over the years but doubt if we'll see Rick Wakeman back with the band, though i did hear one of his sons Oliver was up for the job and worked with the band on the new album but was dismissed...? ....shame.
Great artwork and flight theme all go together to make a great comeback album for Yes, though the old purist cynics could have a field day criticising it, the guys have stood up well here to keep up their reputations on all counts, personally i am just chuffed to have a new pretty well up to standard Yes album in my hands, the Spirit of Prog is still alive and kickin', show 'em guys!!
Though Fly From Here is by no means a masterpiece, it will remain a worthy addition to Yes fans and Prog fans alike, and the album will remain on my turntable for some time to come i know.
(progarchives.com/album.asp?id=33381) Review by mystic fred. July 15, 2011

01. Fly From Here - Overture (01:53)
02. Fly From Here Pt I - We Can Fly (06:00)
03. Fly From Here Pt II - Sad Night At The Airfield (06:41)
04. Fly From Here Pt III - Madman At The Screens (05:16)
05. Fly From Here Pt IV - Bumpy Ride (02:15)
06. Fly From Here Pt V - We Can Fly Reprise (01:44)
07. The Man You Always Wanted Me To Be (05:07)
08. Life On A Film Set (05:01)
09. Hour Of Need (03:07)
10. Solitaire (03:30)
11. Into The Storm (06:54)
12. Hour Of Need - (Full Length Version) (06:45)

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Yes - The Ladder (1999)

Year: September 20, 1999 (CD Oct 20, 1999)
Label: Beyond Records (US), 63985-78046-2
Style: Art Rock, Symphonic Rock, Progressive Rock
Country: London, England
Time: 60:22
Format: Flac Tracks 16/44,1 kHz
Size: 443 Mb

Oh... Yes,Yes,Yes again and again!!! Long live for this band! The name of the next album is Magnification,but the magnification begin from here,again and again!It is very pleasant for someone simple person like me when see that five big persons (or six) repair their mistake! And Yes made it perfectly! After the absolute failure Talk and the problems with the sound tuning and some other circumstances in Open Your Eyes Yes are here again! The Ladder is the first album with crystal and synchronic sound and mystical perfection in songwriting since Drama and the first in typical classic Yes sound since Going for the One.I exclude Union,because it is different and its beauty shine in other way!I think that a returning to the top is harder than reaching it for first time. And that's the importance of The Ladder and the greatness of Yes. There are many band,but there aren't others like Yes. The Ladder contains one of the most famous and one of the best Yes' songs - Homeworld (The Ladder). All of the other songs are very good,without anything weak. The Ladder is album that makes you happy,satisfied and pleased from life.It turns you free and positive. Appropriate for everyday use and for all moods.A must recording for every little progressive rock fan!
(progarchives.com/album.asp?id=1848) Review by poslednijat_colobar. October 6, 2008. ****
The appeal of THE LADDER wore off rather easily, much faster than I had anticipated. It's as if I bought THE LADDER and subsequently walked right under another one. We have two nine minute things here, and they may lead one to believe that Yes may have returned to their old style back in the early 70's. The sound produced here is far from classic Yes with the two longer songs being teases to prog fans, much like the epic on TALK.
I'll admit that ''Homeworld'' is the best epic here, one that could faintly harken back to Yes of old even with that over-produced 90's Yes sound. ''New Languages'' isn't horrible, but plagued with cringeworthy AOR choruses and ideas that sound ''borrowed'' from THE YES ALBUM. Pop music pretty much dominates the rest of the material; the reggae-esque ''The Messenger'' is the best here although also noticeable is the short ''Can I?'' with its world music thingys. Parts of ''Lightning Strikes'' sound laughable, and the whole song sounds like a kids tune in 7/8 time (which would scare the kids more than anything). Everything else need not be mentioned.
If the poppier Yes doesn't offend you, then this album should not be difficult to digest as it gets a little proggy in spots. Those looking for a more classic Yes should skip ahead to MAGNIFICATION or get a classic Yes album; THE LADDER is not classic Yes.
(progarchives.com/album.asp?id=1848) Review by Sinusoid. January 16, 2009. **

01. Homeworld (The Ladder) (09:34)
02. It Will Be A Good Day (The River) (04:53)
03. Lightning Strikes (04:35)
04. Can I? (01:32)
05. Face to Face (05:03)
06. If Only You Knew (05:43)
07. To Be Alive (Hep Yadda) (05:07)
08. Finally (06:01)
09. The Messenger (05:13)
10. New Language (09:19)
11. Nine Voices (Longwalker) (03:20)

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Emerson, Lake & Palmer - In The Hot Seat (1994)

Year: 26 September 1994 (CD 1994)
Label: Victory Records (UK), 828 554-2
Style: Progressive rock, Symphonic Rock
Country: London, England
Time: 71:33
Format: Flac Tracks 16/44,1 kHz
Size: 433 Mb

The making of the album was complicated by health issues encountered by both keyboard player Keith Emerson and drummer Carl Palmer. Emerson had trouble with the ulnar nerve, which made it difficult for him to control his right hand. As the prognosis for recovery after the surgical treatment was not promising, he had to overdub the right-hand parts with his left hand. Palmer suffered problems with carpal tunnel syndrome, which led to numbness in his fingers. He underwent surgery to correct the issue.
"Daddy" was written by Lake in memory of missing child Sara Anne Wood and was used to raise awareness of missing and abducted children. The royalties from the song initially brought in $5,000 and were donated to the Sara Anne Wood Rescue Center, a national non-profit foundation established by Wood's father.
"Street War" originated in summer 1988 sessions by Lake with Geoff Downes under the project name Ride the Tiger, but was reworked for this album by adding and rewriting lyrics and composing new music. Ride the Tiger was finally released in 2015.
(en.wikipedia.org/wiki/In_the_Hot_Seat)

01. Hand Of Truth (05:22)
02. Daddy (04:42)
03. One By One (05:07)
04. Heart On Ice (04:19)
05. Thin Line (04:45)
06. Man In The Long Black Coat (04:12)
07. Change (04:43)
08. Give Me A Reason To Stay (04:14)
09. Gone Too Soon (04:11)
10. Street War (04:24)
11. Pictures At An Exhibition a. Promenade (01:45)
12. Pictures At An Exhibition b. The Gnome (02:07)
13. Pictures At An Exhibition c. Promenade (01:45)
14. Pictures At An Exhibition d. The Sage (03:10)
15. Pictures At An Exhibition e. The Hut Of Baba Yaga (01:16)
16. Pictures At An Exhibition f. The Great Gates Of Kiev (05:24)

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Emerson, Lake & Palmer - Black Moon (1992)

Year: 18 May 1992 (CD June 27, 1992)
Label: Victory Music (US), 383 480 003-2
Style: Symphonic Rock, Art Rock
Country: London, England
Time: 48:55
Format: Flac Tracks 16/44,1 kHz
Size: 302 Mb

Charts: CAV #66, GER #45, NED #77, SWI #23, JP #16, US #78.
The band had broken up in 1979, and recorded Black Moon to kick off their 1990s revival. Black Moon received mixed reviews. Jim Allen of AllMusic wrote in a retrospective review that the performers "stripped down their sound and amped up their attack." In his book The Music's All that Matters: A History of Progressive Rock, Paul Stump compared it favorably to its contemporary Union (by fellow progressive rock giants Yes). He explained that Black Moon "did at least aspire to interest and excite the listener, and it would be a churlish mind that overlooked a vigour in the playing which had formerly been notable by its absence. The material, though, suffered from the Yes malaise: cynicism and over-exposure to the wallet-fattening blandishments of easy-out FM mores, intervals and development procedures had blunted edges and dulled nerve-endings both of players and listeners."
Half of the album's songs were played at the band's 1992-1993 concerts. Greg Lake included the songs "Paper Blood", "Farewell to Arms" and "Footprints in the Snow" in the setlist of his 2005 solo tour. "Farewell to Arms" was played at the group's final concert, at the High Voltage Festival in July 2010.
(en.wikipedia.org/wiki/Black_Moon_(album))

01. Black Moon (06:59)
02. Paper Blood (04:28)
03. Affairs Of The Heart (03:47)
04. Romeo And Juliet (03:42)
05. Farewell To Arms (05:10)
06. Changing States (06:02)
07. Burning Bridges (04:45)
08. Close To Home (04:29)
09. Better Days (05:36)
10. Footprints In The Snow (03:52)

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