Taking a Long break

To my fellow Blog Readers,


I will be on Hiatus, but I will be on my Facebook site. So I will be taking a long break in November and December because of Mid-Terms, Thanksgiving, Final Exams, and Christmas coming up. Now I may appear with a review, so don't worry I will be back with one.

See you soon and have a great Thanksgiving and a great holiday, see you in 2011!

Zack

Brainticket - Psychonaut

Some bands want to have a laid-back groove and carry the experimental sound into the Outer Limits and make an alternate soundtrack to the 1973 cult-classic film, Logan’s Run starring Michael York and Jenny Agutter. Kraut and Space Rockers Brainticket and their follow up to the strange and weirdest avant-garde twist debut of Cottonwood Hill in 1971, their second album, Psychonaut, was recorded at Milan Studios in Italy during the same era. The album itself is very Raga-Rock with an attitude of atmosphere, ambient, and raw psychedelic futuristic sounds of the 21st century.

The band was founded in 1968 by multi-instrumentalist Joel Vandroogenbeck (I know that’s one hell of a long last name) in Belgian. Even though they have a Krautrock sound almost as if Amon Duul II and Frank Zappa had a love child, Brainticket is one of the most underrated bands to come out of the Belgian Music scene. Alongside Joel, the band members are: Jane Free, Rolf Hug, Martin Sacher, Barney Palm, and Caroline Murel.

Starting the album off with the 7-minute Radagacuca with it’s eerie Hammond and Flute duo like it was recorded in a dark and cavernous cave. Then it becomes an Indian Psychedelic tribe with acoustic guitar, sitar, and congas as where they do a reminiscent of Quintessence as the lyrics have a stylization of Philip K. Dick’s Do Androids Dream of Electric Sheep? The lyrics may feel strange and interesting, but it’s very haunting and moody as the last few minutes become almost a Doors sound with chanting, manical laughter, and the organ creating a spooky finale that really sets the tone.

One Morning sounds like an ambient jazz sound with the piano and double harmonization vocal track done by Mr. Vandroogenbeck as it features the rain and thunderstorm as a wonderful sound effect while the percussion has a mysterious tone. (There’s a Shadow) Watchin’ You features some strong dramatic vocals done by Jane Free. The track is very psychedelic and has a harder edgier sound with help from Guitar, Organ, and Bass. With a little help from the Leslie Speaker, Joel creates a dynamic yet evil sound on the Organ that makes it a real haunting melody.

The last few minutes is a real kicker as the tempo starts to slow down by going through a droning technique with the Sitar as it goes through a Hare Krishna Raga sound by giving it the Indian Music scene. The 6-minute Space Rock sound is back to the core with a militant dooming sound on Like a Place in the Sun. There is some singing, but with spoken passages that reminiscent Robert Calvert and Jim Morrison working together to make a twisted solar system adventure.

The drumming is like a pounding kettledrum that almost is a combination of Billy Cobham and John Bonham while the organ itself has a soul turned doom metal sound as the bass has a lot of walking tough bass lines as Jane speaks like a monotone to the futuristic city as the band members help her out with the piece as the finale has a Soft Machine ‘60s sound in the realm of Lullabye Letter intro. Feel The Wind Blow goes in to the Acid Folk remedy with it’s strange lyrics that is almost in the mind of Comus First Utterance.

Under the surface, it features amazing layered guitar work, atmospheric organ work and nice touches on the flute to make the tempo soar up to the milky way. The last track, Coc O’ Mary, is one of the most surprising closing numbers on the album. You can tell according to DPRP’s John O’Boyle, it has a touch of Jethro Tull meets ELP.

This is almost a rumbling prog rock instrumental piece as the musicians give their strengths and all their might to close out this explosive composition. This album is a lost gem and Brainticket themselves deserve a huge pat on the back. They could have been bigger than CAN, but they are a band that deserves a lot of attention and lot of recognition they need throughout the Prog and Experimental community.

Entropia - Simetria

Are Entropia following in the footsteps of Dream Theater? That might be a risky question to ask from a prog-fan including myself. The reason it’s a risky question because the Progressive Metal scene comes with a mighty bang – heavy guitar riffs that are melodic and classical, story-complex concept albums and you have your admirers including: High Tide, Rush, Uriah Heep, Queensryche, and Opeth to name a few. It’s not like the genre has found a new audience, but for Colombian band, Entropia are probably the next Dream Theater, then the Progressive Metal genre is being a force-like beginning for fans.

Here’s a band that have a debut album that knows their traditions in the Colombian state. It is boarded in Venezuela by the east while its northwestern republic in South America between Peru and Ecuador. This helps Entropia take the music to bring peace to their hometown in Bogota. This is Prog as it gets. Simetria (Symmetry) gives an A+ and it needs a lot of good grades, even though for the direct approach and mind-boggling power, it takes a lot of power for the compositions to give it a real kick to it.

The album begins with the salsa turned roaring rock sound that is called Teorema. It has a melodic rock sound along that features a cosmic guitar solo and a magnificent bass line along with the vocals that resembles James LaBrie singing high above the mountains of the Grand Canyon with the band helping him out. Elsewhere, The Cube, has its metallic riffs and electronic futuristic scenery and more of the jazz fusion bass work that reminiscent of a symphonic version of Bruce Dickinson conducting Opeth as they teamed up to created a mesmerizing journey when they head back to earth and push the envelope more and go back into the Prog sound of Poetry in Motion.

There is a lot of time changes and textures on the debut album as heard on Real Lies which starts out with the moog sound very cosmic in the realms of Pantera, Opeth, and Hawkwind have teamed up as Space Cadets to search for a new land like they’ve have been bring the screaming and growling aspects of Phil Anselmo and Mikael Akerfeldt to help them out. There’s also a dooming element too, with a shattering guitar line that has a real twist while the drums sound like a machine gun and fighting to die for freedom in a blaze of glory. Meanwhile, there are hints of Rick Wakeman’s keyboard solo, Dimebag Darrell’s guitar work, and bassist Tony Levin working together creating a mythical sound on the 8-minute title track. It’s pure Entropia right there and there’s no excuse to say why this band are unbelievable and give you a kick in the gut big time.

Primarily, the ambient and majestic moody turned into a battlefield of Tolkien Metal in the realm of the Lord of the Rings trilogy, Transitions with it’s soaring guitar work, soothing keyboard work, pumping drum work, and bass work as well, it really works like an epic score to a movie or video game that just has your ears saying “What the hell is this and how is this so fucking good?!” You can hear a bit of Iron Maiden and Judas Priest’s twin guitar sound homage, but it’s a real goody in the instrumental format, but it expresses very well.

The eerie and moody sound is back into the core with the haunting yet sadness childhood memories of Elements. You can tell that the singer has emotions through the pain as he sings like if he’s about to fight back tears with: “Whispering a lullaby, the girl now lies in the corner/She said the day she’d leave, I’d meet my father/True words, uttered, oh, and I became a mourner.” What he’s saying is when you leave home, meet your father, but now since he’s passed, he’s now mourning the loss of the father he barely got to meet and never got the chance to bury the hatchet.

It really hits home with some of the listeners on missing their family and hoping to reconcile, but finding out that one of your loved one is dead really hits you like a ton of bricks. At the end, the guitar solo is flourishing and weeping to the scenery of the lost one as it hits one of the highest frets to reach cry of pain and sorrow, it’s so good, yet tearful at the same time. This and The Sphere is a two-part mini rock opera in the realm of the Scenes from a Memory-Era. The song deals with now that Lillian and his father are gone, Sophie, her daughter is suffering through a mental breakdown as the growling vocals and the operatic high vocalization fit the scenery as he tries to help his new love be sane again.

The 11-minute closer, Epilogo, is the ultimate climax, a terrific finale that sets the tone on the main character’s daughter struggling to survive from her breakdown that ends in a finale that I can’t spoil for you. This is the kind of piece Entropia do best throughout the number with it’s reminiscing of the Dream Theater sound on Simetria, filled with an acoustic, power metal, and energetic flames that don’t burn out. This is their debut album and they are only getting the wagon rolling early right now and they hope the wheel doesn’t come loose and see where they might lead to.

Entropia are doing something different in their hometown in Bogota. They have a bit of Opeth, Early Metallica, and Dream Theater in their flesh and blood than doing Megadeth and there’s again the sound of James LaBrie, Phil Anselmo, King Diamond, and Bruce Dickinson on the vocals. They capture the spirit of Progressive Metal through a speeding in the realms like Pain of Salvation and Symphony X, while Entropia have in their hearts and minds, it’s amazing that it sounds fresh and brings the music genre rock sound strength to strength.

Simetria is the most excellent album that Entropia have brought to the table. They are geniuses and damn they are so good they are going to be the next Dream Theater and let me say, there is hope and the dreams will come true to them.

Wigwam - The Lucky Golden Stripes and Starpose

“Happy face human race/swinging in the rain/ get yer rags together ‘cos/we’re going down the lane.” Those words are magic geniuses thanks to Finland’s own Wigwam. After having success with their previous album, Nuclear Nightclub, some of the critics believed that Wigwam were about to follow in the right footsteps. But it wasn’t going to be that easy as they went commercial which wasn’t a bad idea for them to do when they released, The Lucky Golden Stripes and Starpose in 1976.

The band was signed to Richard Branson’s label, Virgin Records and recorded the album at the Manor in Oxfordshire in January. They finally hit the mainstream which had mixed opinions from the music critics at the time the album was released. It was ahead of its time, but The Lucky Golden Stripes is one of those albums that still sound like a cleanly fresh jewel that you haven’t wore for 34 years and Wigwam’s ninth album is one of them.

The tracks on the album were written by leader of Wigwam, pianist and lead vocalist, Jim Pembroke starting off with the lifting introduction about being free from the mental asylum and starting a new life on Sane Again while International Disaster carries in the realm of The Band’s Stage Fright-era. The short instrumental composition, Timedance, is basically an improvisation that has a Gentle Giant feel thanks to Hessu Hietanen’s homage to Kerry Minnear. It is very short, but it is almost like a jam session between drummer Ronnie Osterberg, Hietanen, and guitarist Pekka Rechardt creating some jazzy funk with an attitude.

The 6-minute epic, Colossus starts off with Pekka creating a mystic guitar rhythm as it segues with Hessu doing an atmospheric style on the keyboards. Then it becomes a driving rock beat as the tempo begins to reach the higher ground. There’s a lot of the Fusion-esque sound that you could hear more of that with Return to Forever and Weather Report, but the track still is carrying the layered ethic touch to the sound of Wigwam and Pekka is unbelievable on the guitar and he deserves 100% credit on this track. Elsewhere, Eddie and the Boys is very more pop-orientated than Album-Orientated Rock. This was the band’s beginnings of going commercial. While some of the fans have a hard time to love or reject this track, Rechardt is really going to town with this on his funk-like sounds on his guitar.

But on Lucky Golden Stripes and Starpose, it has more of the progressive feel on the beat and changes. Pekka is again just shining by doing a space rock sound on the guitar in the midsection while Osterberg is working on the drums carefully like a real jazz-drummer and Hessu’s keyboards has a very haunting overtone and then it goes back into the rock sound to close the track up as if Jim’s vocals and Mosse Groundstorem’s bass lines that have more the funk beats than Pastorious if you like during the short complex midsection.

June May Be Too Late is Pembroke’s homage to the Soul sound representing the Motown sound in Detroit but with a Soul Train attitude. There’s some shuffles and cool riffs between each instrument that you would be blown away by. You can imagine Don Corneilus bringing this band to his show and the audience being blown away by them and seeing how damn good they are. You won’t hear a damn disco feel on this, but more with the sound of soul, it really has the train pumping out the music.

The partnership between Pembroke and Rechardt are sort of Finland’s answer to Lennon and McCartney (in a Prog-Fusion style of the Beatles) on the soothing crystal ballad on Never Turn You In as the final track, In a Nutshell, a glorified progtastic opium in the realm of Frank Zappa’s One Size Fits All-era. It’s a bag filled with: Pembroke singing the melody as if he’s doing the time changes with the instruments in a spoken word-rap feel as Hessu, Pekka, Mosse, and Ronnie create a humorous fusion finale that is sometimes quirky and in the realm of Camel’s Moonmadness at times. The two bonus tracks which are featured on the Esoteric reissue which were recorded in Stockholm and Kingsway Studio in 1975.

Tramdriver could have been recorded in the sessions of Fairyport while Wardance has a mystical yet eerie upbeat tempo provides so much of the jazz fusion and conceptual ideas of the Blue Moon and the Twilight sky for a dance beat. Lucky Golden Stripes and Starpose may not be everyone’s cup of tea, but it’s not only an incredible album, but it’s a shame that the album would divide the fans and critics like drawing a line in the sand whether to accept the album or not.

Darryl Way's Wolf - Saturation Point/Canis Lupus/Night Music

One of the most eclectic jazz-prog fusion bands that had an amount of voltage of one virtuoso violinist, Darryl Way and his band Wolf are one of the most independent prog bands that released only three albums in the ‘70s. After he left Curved Air to pursue a solo career, he formed the band Wolf which featured: guitarist John Etheridge, Caravan bassist Dek Messecar, and Marillion drummer Ian Mosley. These three albums reissued on the Esoteric label of their three albums: Saturation Point, Canis Lupis, and Night Music which are one of the best works for Wolf to allow the symphonic influence to come forward around of shrieking violin work and fast time signatures which is the evidential look on Saturation Point. The fiery introduction with the glowing blaze of The Ache is a wonderful opening which features Dek’s storming bass lines while guitarist Etheridge is doing some eruptive guitar work as Darryl lets him take over as he takes the violin by playing almost like Vivaldi (reference to Curved Air, mind you) at the very end as the band do a climatic crescendo.

Two Sisters is an extreme muscular drive while Slow Rag carries the jazz-fusion romantic haunting instrumental ballad in the realms of Tomaso Albinoni. Etheridge is doing a classical guitar solo as Way’s violin sounds like it’s crying while Mosley’s drum playing just let’s it rip to lead Darryl to follow the lead with the other members on this. It still sounds fresh and yet an underground classic – fierce and explosive including the medieval improvisation on Market Overture, very John McLaughlin-esque sound thanks to Etheridge as he just takes the rhythm to a standstill and some electrifying violin and drum work that tastes good as for Game of X, which sounds like Fusion Heavy Metal. You have the crazy scatting with some shattering violin works, and then all of a sudden, it has at the end, a growling effect on the guitar for its disturbing finale. The title track, has its jazz works that is very Canterbury sound with Way’s Rhodes keyboard sound, Mosley’s homage to Billy Cobham, Etheridge just playing going a lot of scales going up and down the frets while Dek is creating some fusion grooves on the bass to make you get up and dance.

The finale 7-minute composition, Toy Symphony, is probably one of the highlights on the album. You have Darryl doing a dramatic pastoral violin introduction while Dek is using a fuzz tone sound on the bass through his days in the Canterbury scene of the late ‘60s as he and the other members go at each other to create a different mood change. To me, it’s a rumbling epic with all the ingredients adding to the mix, hell, you’ve got yourself one hell of a track that you might want to play at your memorial service. Three bonus tracks give a closer look of the band’s roots of their upbringing. The blues shuffle of A Bunch of Fives, The Western Fiddle Rocker Five in the Morning, and a single version of Two Sisters that adds a lot to the historical roars of Wolf. Canis Lupis, their second album to the follow up of Saturation Point, comes in to the picture with the twisted opener, The Void, just a crazy yet emotional breathtaking track that should have been a hit single, even though Isolation Waltz has a raunchy and tough track and the swirling moog spacey sound on Wolf wears a lot of the space-like fairy tales in the realms of The Little Prince, it goes batshit crazy with the screeching allegro realm of New Trolls concerto grosso on Cadenza.

The true evidence of Darryl Way’s Wolf’s fire about to go into a blaze of glory, is probably, their final and magnificent third album, Night Point – a creative thunderstorm of Prog Fusion that needs a lot of attention. Move over, Mahavishnu Orchestra, Wolf is here to stay by giving all the energy and the power they get to close the curtain off. And adding special guest of IF’s vocalist John Hodkinson, you got yourself a full prog weekend. Dek takes center stage on his funky bass intro on The Envoy, a 6-minute driving-on-the-highway song that is very ferocious. There’s Darryl, Ian, and Etheridge just chug like a speeding train as Hodkinson creates a glorified view of the hero seeing where the city is laying and looking at the views of War and fighting in the battlefield. You don’t expect to hear it on a Wolf album, but this is a real kick-ass number. Black September has a moody and angelic laying down on the sun song at first and then it turns into a crackling psychedelic finale for the last 2-minutes.

Even though Flat 2 55 is a 6-minute dooming and eerie instrumental track featuring a roaring introduction that sounds like the swirling land of hell, it is quite astonishing as they are back into the Canterbury Jazz Fusion sound. John’s guitar playing is very Hendrix-like while Dek is doing his Hatfield and the North bass lines as for Ian is going up on the tempo steadily on the drums while Darryl is going off on the violin like a mad scientist. Yet another moody and story-complex drama and being a hunted prey on songs like Anteros and We’re Watching You goes through a synthesized treatment that Keith Emerson could have done as Darryl does it very perfectly and would have Keith shaking hands with Way. In more of the realm of the Jazz Fusion technique, Steal The World would be something out of Gentle Giant’s Octopus sessions, but would be a 17th century exercise with the symphonic rock sound added to the mix and that includes another homage of the Medieval Rock sound on the closing track, Comrade of the Nine.

These three albums are very innovative and deeply enjoyable. For Curved Air fans who admire Darryl Way’s extractive violin work, they will be completely blown away to have a treasure of underrated progressive rock bands to marvel and have their hearts sink into. There’s more of the symphonic jazz fusion hopefully coming in the next few years into the future. But for him to reunite with Curved Air is the real turning point for Darryl to be a happy and be back on his game with the band like putting on shoes that you haven’t wore for a long time ago.

Matt Stevens - Ghost

There’s a lot of surprises in the download community in store for Guitar lovers around the globe, for Matt Stevens, his new album, Ghost as the follow-up to Echo, is one of the most magnificent acoustical beauties that really deserves a lot of attention to music collector’s of the Prog genre out there. He isn’t like Jimmy Page, or Carlos Santana, but on Ghost, it’s almost like an experimental journey that fly’s majestically.

Stevens releases his music online and it’s a perfect ingredient to get the word out. He’s one of the most up-and-coming virtuoso guitar players that I really enjoy hearing the music. This isn’t your daddy’s instrumental guitar album; this is a work of genius mastermind who isn’t playing the guitar to show off his talent, but a guitar player who know his love of the Progressive music scene.

Matt Stevens is going to be next Jonny Greenwood and Robert Fripp by using a lot of the layered guitar sounds and very much making it very ambient and atmospheric. I could imagine Fripp having a huge grin on his face when he sees Matt performing as if he’s passing the torch to him as if he’s taking over the guitar world. With Ghost, he is the conductor and makes his own music that he’s helping them to see where he would go with his guitar sound.

It begins with Into The Sea; a moody classical piece that shows again his love of Ottmar Liebert’s guitar beats and the intensive percussion beats on the track. There’s a bit of the dramatic and reaction throughout the piece as he plays each note on the guitar. The beats provide adds tension as the number groove through different changes in the composition.

The energetic comes forward on Big Sky. This tune has a New Age yet atmospheric moog-like sound. The tune is has an upbeat tempo, it adds the space sound as he uses the Kosmiche effect sound with a little bit of the NEU! 75-era for a good reason, you have the whooshing effect with a lot of amazing techniques and flying into the sky and seeing where the sunlight will follow the musician as he plays like a magician that knows the tricks and trades very well.

Eleven is a haunting melody almost in the style of Mike Oldfield’s earlier work. There’s the eerie layered sound that Stevens does with the muting guitar ushering and glockenspiel references that is gently towards a suspenseful film score as Orson Welles and Dario Argento teamed up to work with him to create a dark yet disturbing masterpiece while Draw is in the realm representing the Kid-A era of Radiohead.

Burnt Out Car is a wonderful little strumming ditty that is almost a driving towards the sunset as if he’s outside on the porch with the car as if he’s performing a mourning to the Car that has been in ashes and dust as he gives this exquisite force that follows the homage to Thom Yorke’s The Eraser with the electronic beats and more of the atmospheric sound that creates a ghost-like melody on Lake Man. It works very well as for the soaring Glide which is him doing a Pete Townshend type of guitar work. He’s strumming and finger picking at the same time including a comforting keyboard sound that sounds very much like a twisted mellotron. But somehow Matt makes it very perfect on his own that really gives it a real heart and mind to listener’s throughout the prog-web community.

8.19 is back on the throne with the guitar shuffle and probably one of Matt’s accomplishments like he is giving himself a pat on the back with the drums as he and the percussion move more of a Jazz-Alternative Rock sound as for the title track brings back the Progressive Rock format. I can tell that he’s back again the genre with the scariest pieces that has a ghostly beat and what a scare he gives what sounds like a twisted accordion and a bit of the disturbing fairy tales that has been told throughout a camp fire scaring the little kids out of their seats.

The last track, Moondial, is almost the track that could have been used as a bonus track from Echo. And you can tell Matt is back on his feet. The instrumental piece has more of the haunted similarities in the 16th century style. He’s playing almost like a Spanish guitar sound on his instrument. Remember, he isn’t showing off, he’s doing a damn good job from start to finish.

A good follow-up that proves that Matt Stevens might have something up for his next album, and it’s a reminder that the guitar and how good he really is to deal with an album that the dream is growing on him and he makes it better with a lot to say.

Fields - Fields

Holy Shit! It’s hard to understand why Graham Field, keyboardist of Rare Bird decided to leave the band after having the success with the hit single, Sympathy and the delightful debut album in 1969. There are no hard feelings towards the band members as Graham formed a trio featuring drummer Andy McCulloch of King Crimson and bassist/guitarist/lead vocalist Alan Barry on their only debut album released in 1971 on the CBS label simply called Fields. The band that could have given Atomic Rooster, Aphrodite’s Child, ELP, and a bit of Le Orme, a warm handshake with this unbelievable album that deserves a lot of attention.

And while the prog trios have achieved success or decided to call it a day including Fields themselves over the frying pan and into the firing line, we may have a rough time deciding why bands are either underrated or overrated. Now we are in the 21st century where Progressive Rock is now longer a dirty word anymore and the geeks are coming back from the dead, do we care that the band features some amazing arrangements including a session singer whose vocals are different from any singer in the genre? Well let’s take a look at the answer to that question.

When you pick up a copy of the Esoteric reissue that is absolutely spot on and features amazing liner notes by Sid Smith including an interview with Field himself about the making of the album, the answer is no. I think Alan Barry has a tremendous voice and his guitar and bass playing are very much in the realm of pre-Starcastle and of course Andy McCulloch’s drumming which I applaud – after admiring his work on King Crimson’s disturbing masterpiece, Lizard. And this is a perfect trio or should I say a supergroup in the realms of Rare Bird and KC in the mind of Fields. Excellent, characteristic, and charismatic ingredients of heavy progressive music.

Given that fact that they were well received in European Festivals and the label dropping them after a new A&R manager deciding not to continue with the band, they decided to give it all they got for the last time as they threw the magic carpet to fly off into the soaring sky. Opening track A Friend of Mine acts like a volcanic eruption thanks to Fields dazzling keyboard work in the reminiscent of J.S. Bach, a great introduction of the classical rock orientation that gives us what is about to come next and gives us a real roar.

While the Sun Still Shines has a very memorable FM Radio sound as the crystal touch balladry of Not So Good has a bit of the angelic harmonies. You have the piano, organ, bass, and drums’ combining together as Graham takes over leading the band into services inside the church as if the band is giving a lecture inside the cathedral to a married couple. It all becomes very much of a mourning sound on Three Minstrels, a reminiscent of the 17th century Renaissance Music ala Gentle Giant style.

Slow Susan is an instrumental homage to Bo Hansson’s Lord of the Rings-era as Field does a pastoral feel on the keyboards as it leads up to the rumble raunchy prog-funk sound of Over and Over Again. In the track, Andy is playing wildly on the drums as if he’s doing a Bruford style while Barry creates some magic on the bass as Graham goes quiet and loud on the organ to give the band the signal to come in. Now in the midsection, this is the part I love. They go into almost a bit of the fusion-esque sound that is very powerful and has a lot of Barry’s singing and Field’s cool Rhodes-like sound on the keyboard as if he’s Chick Corea. At the very end, is Field going crazy on the organ as the band members are blown away of how far can Graham go on.

Feeling Free and A Place To Lay My Head are in the realm of Church music. You can imagine the gospel choir in the background singing with them with a lot of heart and soul and sweating buckets to the band and a lady doing some harmonizing vocalization with the band. Fair-Haired Lady is an acoustic crisp sound that has medieval folk-like sound as Barry fingerpicks the guitar in this romantic beauty of this gorgeous yet beautiful woman that sees before his eyes. The Eagle closes the album with more of the pastoral, but symphonic rock sound as Barry does a Spanish guitar sound while playing a wonderful mellotronic sound for a brief while and then BAM! He, Graham, and Andy go at it together to see who can win the boxing match at the very end of the piece while Field plays a quiet somber uplifting finale on the grand piano.

It’s a shame they never made another album after the label dropped them, but this is the real deal of the underrated bands that is still growing strong and it’s like a flaming fire that won’t burn out as the gasoline keeps on pouring for more of the fire to come at it like a speed demon. Even though they split up, it is a highly recommended album that you really need to sink your teeth into.