10th Karfagen album - Symphonic art rock suite inspired by Robert Louis Stevenson`s poetry.

After the end of Yes, Downes and Horn resumed working on a second Buggles album, Adventures in Modern Recording, released in 1981. The same year, Downes founded Asia with fellow former Yes member Steve Howe, former King Crimson member John Wetton, and former Emerson, Lake & Palmer drummer Carl Palmer. The weak commercial performance of Adventures in Modern Recording, associated with Downes being busy with Asia and Horn wanting to be focusing on being a record producer, led to the disbanding of The Buggles. Yes subsequently reformed in 1983, without them, but with Horn producing.

OUA's 6th album collides a studio session of bass driven rhythms with a marathon free improvisation session - combined, sculpted and arranged into an ever morphing tapestry of new sounds from leftfield progressive music. Fans of Soft Machine, Magma, Pink Floyd, Henry Cow, Sun Ra will enjoy this too.

The second album by Manfred Mann's Earth Band to be released in 1972, Glorified Magnified is as solid a heavy rock album as you're likely to find from that era, and it still holds up three decades later, mostly because these guys are smarter than the music they're playing and don't mind indulging their taste as well as their dexterity. They can romp and stomp through "Meat" or "I'm Gonna Have You All," complete with a slashing guitar solo by Mick Rogers on the latter, or throw in a synthesizer interlude by Mann on "One Way Glass" that's so quietly and carefully executed as to be worthy of a classical piece – and not skip a beat doing it.

Following their massive 1986 European stadium tour for the A Kind of Magic album, Queen took an extended break. Rumors swirled about an impending breakup, but it turned out the break was brought on by a painful marital divorce for guitarist Brian May (who subsequently battled depression and contemplated suicide), and Freddie Mercury being diagnosed with AIDS. Instead of sinking further into misery, the band regrouped, worked on each other's mental state, and recorded one of their most inspired albums, 1989's The Miracle. Lyrically, the songs tend to reflect on the band's past accomplishments ("Khashoggi's Ship," "Was It All Worth It") as well as the state of the world in the late '80s (the title track, "I Want It All").

As if the flood of compilations called Best of Bowie in 2002 weren't confusing enough – there was a different track listing for each territory around the world, all bearing the same name and album cover – in 2004, a double-disc version of Best of Bowie was released in U.S., which was different than the "bonus CD" edition released in North America in 2002. It's not too different – a slightly different sequencing, it's a track longer, it has a couple different songs (and there's an edition with a bonus CD containing remixes) – but even if the details are slightly different, the overall gist remains: this is an excellent double-disc overview of Bowie's '70s and '80s peak.

Zappa ’80: Mudd Club/Munich combines two historical performances from the spring/summer 1980 band. The first is from a set at FZ’s favorite NYC nightclub – the famous Mudd Club. Presented from a hi-res transfer of the original master tape. The second, from Olympiahalle in Munich, is the first ever live direct to digital stereo recording of Zappa. Mastering by Bernie Grundman, 2022.

With its titanic guitar solos, symphonic suites, and multi-layered melodies, Muse's fifth album operates under the assumption that bigger is better. This is the very definition of a super-sized album, an album that takes its cues from Queen, its lyrics from science fiction novels, and its delivery from rock opera. It's also the first time that Muse has truly sounded like Muse, as few bands since Queen have so readily explored the intersection of bombast and extravagance. The Resistance is most certainly extravagant – there are snatches of classical piano entwined throughout, not to mention bilingual lyrics, concert hall percussion, coronet solos, and song titles like "Exogenesis: Symphony, Pt. 2 (Cross-Pollination)" – but it's also quite beautiful, capable of moving between prog rock choruses and excerpts from Chopin's "Nocturne in E Flat Major" within the same song.

Opening with Mike Hugg's title track, which builds on Mick Rogers' intense riffing and the killer vocals of Vicki Brown, Judith Powell, Liza Strike, and Ruby James, Messin' is pretty intense and involving from its very first bars. It's also damned topical and serious, for all of the free-wheeling rock & roll spirits and the progressive rock complexities that go into the playing. And the result is a spellbinding whole, featuring some astonishing keyboard flourishes by Manfred Mann himself (who ventures into Rick Wakeman and Keith Emerson territory on "Buddah," even as the rest of the band seems to be emulating Deep Purple) and killer guitar from Mick Rogers, while Colin Pattenden and Chris Slade lay down the rhythm section like a pair of articulate pile-drivers.