1st Press Japan Yngwie Malmsteen Pocp Trilogy

Although it's not on the same level as the best progressive bands – the drums and keyboards are not really up to the challenge presented by the guitars – this album has been rather unfairly written off by some music critics. Their debut begins with their strongest composition: "Voices," whose multiple movements, chorus lyrics of "a million voices singing," broad washes of mellotron, and alternating guitar tones make it sound like an outtake from Yes's "The Ancient." The instrumental "Theme" has some fine jazz-prog sax soloing over a lush backing, and "Dawn of Evening" has a wonderfully taut bassline march pushed to the front of the mix.

Following the ambitious song cycle Nude, Camel attempted their version of an Alan Parsons Project album with The Single Factor. Considering that Parsons was having hits that year with songs like "Eye in the Sky," it's not surprising that Camel tried to capture the same audience, yet their talent didn't lay with pop music – it lay with atmospheric instrumentals and creating detailed soundscapes. Consequently, The Single Factor sounds a little forced and often fails to capture the group's magic, even though there a few strong moments on the record.

The Greatest Hits compilation, originally released as Styx - Classics, Volume 15, in 1987 by A&M Records as part of A&M's classics series of greatest hits albums for artists on it's label. Japanese version includes two bonus tracks.

The new era begins in 2011 when the band gets together again in a slightly altered line-up. Clive, Mick and John Mitchell are once more joined by their old Arena pal, John Jowitt on bass! The question of a new vocalist is widely discussed by the fans and the eventual announcement of the choice of Paul Manzi, meets with enthusiasm and appreciation. The release of The Seventh Degree of Separation in 2011 confirms that the lineup is strong and Arena is in great shape! The Seventh Degree of Separation dwells on the subject of death and explores Frigyes Karinthy’s theory of Six Degrees of Separation expanded by the seventh degree, which, according to Clive, would link the living to the world of the dead. The release of the album is followed by the European tour during which some of the new material is presented in combination with Arena’s greatest classics.

The fifth studio long-player from the Jacksonville, Florida-based hard rock unit, Threat to Survival is also Shinedown's most pop-oriented set of songs to date. Front-loaded with two of its hardest-hitting (and classic-sounding) cuts in "Asking for It" and the hefty first single "Cut the Cord," both of which are as hook-laden as they are bruising, Threat to Survival begins to detour from the post-grunge highway with "State of My Head," a slick amalgam of electro-pop and vintage alt-rock with a catchy as hell though extremely well-worn chorus. Meticulously crafted radio fodder like "How Did You Love," "Thick as Thieves," and the Killers-lite "Misfits" follow suit, further distancing the group from its nu-metal origins, but the band hasn't completely lost its knack for crafting punishing blasts of groove-laden and distortion-heavy modern rock.

Debut albums rarely come as ambitious as the Manic Street Preachers' Generation Terrorists. Released in England as a double album (it was trimmed to the length of a single record in America), the album teemed with slogans, political rhetoric, and scarily inarticulate angst. Since the Manics deliver these charged lyrics as heavy guitar-rockers, the music doesn't always hit quite as forcefully as intended. The relatively polished production and big guitar sound occasionally sell the music short, especially the lesser songs, yet the Manics' passion is undeniable, even on the weaker cuts. While the album is loaded with a little bit too much unrealized material in retrospect, its best moments – the fiery "Slash N' Burn," "Little Baby Nothing," the incendiary "Stay Beautiful," the sardonic "You Love Us," and the haunting "Motorcycle Emptiness" – capture the Manics in all their raging glory.

Anticipation was quite high when it was announced in 1984 that Paul Rodgers, the past voice of Bad Company, and Jimmy Page, Led Zeppelin's former guitarist, were creating a "supergroup" called the Firm. Page and Rodgers had first tinkered with the idea of an album after their successful collaboration on the ARMS benefit tour for Ronnie Lane in 1983. Based upon the fact that it had been over five years since Page's last band effort, and two years since Rodger's lackluster finale with the original Bad Company, pundits were more than eager to hear what new material the duo would unleash. However, when the band's self-titled debut was actually released in 1985, it received a critical drubbing and was all but ignored by the record-buying public.

Once in a long while, a musical synergy erupts that leaves a mark for generations. Asia’s initial incarnation pooled together the considerable talents of past members of such legendary groups as Yes, King Crimson, Roxy Music, Uriah Heep and EL&P. After 7 studio albums, and 4 greatest hits compilations, Asia released Aura in February 2001. This album produced what a great number of fans have called the most creative Asia record ever, and garnered some of the finest reviews the band has ever received. Silent Nation, a deliberate return to the rock roots from which Asia was born, is the 2004 follow up to Aura. With solid rock tracks like Ghost In The Mirror and What About Love, Silent Nation is poised to bring Asia’s distinctive brand of music back to the masses. Silent Nation also heralds the first album released under Asia’s new record label, Inside Out Music.

The Alan Parsons Project rarely toured or played live, but the energy, atmosphere, and compelling flow that surrounds The Very Best Live proves that the band's stage presence seemed to come naturally. Recorded during a 1994 European tour, each of these songs is performed unchanged and untainted, which automatically makes for a pleasing live album. Some of the more ear-catching tracks include a riveting version of "The Raven," with Parsons using the voice vocoder exactly as he did on Tales of Mystery and Imagination, and "Don't Answer Me," featuring some truly electrifying saxophone from Richard Cottle.