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Prog Albums Explained: The Lamb Lies Down On Broadway (side 4)

Progressive rock, a genre to love or hate.  It originated in the late sixties thanks to heavy psychedelic rock influences and was pioneered by bands that wanted to go beyond the standard verse-chorus  based song structures.  As a result, often complex instrumental songs were bundled on concept albums with epic pretensions. It’s well possible that you once caught yourself asking what the hell one of these bands was trying to tell you while listening to one of their albums. The answers are provided here, in Prog Albums Explained. All you need  is the album, a comfortable couch and some good headphones.

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Year: 1974

Genre: Progressive Rock

Preceded by: Selling England by the Pound (1973)

Followed by: A Trick of the Tail (1976)

Related to: Pink Floyd – The Dark Side of the Moon

 

 

Side 4: (continued from Side 3)

Track 1: The Colony of Slippermen (The Arrrival – A Visit to the Doktor – Raven) + Track 2: Ravine

After an intro full of strange sounds, the propelling keys and drums kick off the closing side, starting with an absolute highlight. After escaping from the snakes, Rael runs into a bunch of mutilated entities called the Slippermen. They tell him that the same thing happened to them with the snakes and that Rael will end up the same way: Don’t be alarmed at what you see, you yourself are just the same as what you see in me. Amongst the creatures Rael recognizes once again his Brother John, who tells him that the life of the Slippermen is devoted to satisfying the never-ending hunger of the senses, which has been inherited from the Lamia.

So we’re getting more and more indications that the criminal activities of Rael have something to do with sexual misbehavior. Certainly when John tells Rael that they’ll have to go to Doktor Dyper to remove the source of the problem, castrating that is. After getting it done, they receive their testicles in a little tube. But the brothers don’t get the time to walk home safely, as a black raven flies by (represented by the haunting synths), stealing Rael’s tube and dropping it in the water below. Rael runs behind it while his brother fears this sign of bad luck, leaving his brother behind once more: Now can’t you see, where the raven flies there’s jeopardy. The track merges into Ravine, an instrumental piece representing the wind across the cliffs of the ravine.

Track 3: The Light Dies Down on Broadway

As the title already presumes, this track shows some similarities with the opening track of the album. But to the contrary of the rest of the album, the lyrics of this track would have been written by Banks and Rutherford and not by Gabriel. However, Rael is searching for his testicles when he suddenly sees a glimpse of reality, as if there was some kind of portal to NYC in one of the cliffs. He sees the streets he’s so familiar with and runs to the way out. But at that point he hears John, screaming for help while he’s drowning in the water below. Rael now has to choose between returning to reality or saving the brother that left him so many times… Hey John!

Track 4: Riding the Scree

So Rael has decided to go after his brother and during this track he’s running along the ravine, chased by the synths. But.. If I want John alive, I’ve got to ditch my fear – take a dive… Here I go!

Track 5: In the Rapids

So Rael’s in the water now, trying to grab his brother. Although the lyrics describe a fairly exciting scene, the track is sung in a very calm way. Rael succeeds to get John out of the water and tries to reanimate him. But then he notices something remarkable:  Something’s changed, that’s not your face. It’s mine!

Track 6: “It”

So we arrived at the closing track now, just having discovered that John is actually Rael, in some kind of split personality. As the title of the last track already gives away, it was all the time about ‘it’. It is chicken, it is eggs, it is in between your legs. You should really read the lyrics of this last track yourself, to experience the brilliance of it. And like Peter Gabriel says on the very end of it: If you think it’s pretentious, you’ve been taken for a ride..

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Prog Albums Explained: The Lamb Lies Down On Broadway (side 3)

Progressive rock, a genre to love or hate.  It originated in the late sixties thanks to heavy psychedelic rock influences and was pioneered by bands that wanted to go beyond the standard verse-chorus  based song structures.  As a result, often complex instrumental songs were bundled on concept albums with epic pretensions. It’s well possible that you once caught yourself asking what the hell one of these bands was trying to tell you while listening to one of their albums. The answers are provided here, in Prog Albums Explained. All you need  is the album, a comfortable couch and some good headphones.

[singlepic id=30 w=320 h=240 float=left]

 

 

Year: 1974

Genre: Progressive Rock

Preceded by: Selling England by the Pound (1973)

Followed by: A Trick of the Tail (1976)

Related to: Pink Floyd – The Dark Side of the Moon

 

 

Side 3: (continued from Side 2)

Track 1: Lillywhite Lilith + Track 2: The Waiting Room

Another case of two songs merging into each other, with the second one being another instrumental. Rael is still in the middle of this chaos, when he suddenly hears a blind lady (Lilywhite Lilith) asking him to help her out of the crowd.  In return she will lead him out of this place. So Rael follows her but instead of escaping he’s left behind disillusioned in the darkness:  Then she sat me down on a cold stone, carved in jade. A bizarre noise is approaching now while he stays in ‘the waiting room’. Those sounds originate from unused compositions of the band from 1969, resembling the experimental parts from Pink Floyd’s Atom Heart Mother.

Track 3: Anyway

This seems to be some kind of stream-of-consciousness experience from Rael in which he’s confronted with his death. Death seems to come much faster than Rael expected  (Anyway, they say she comes on a pale horse, but I’m sure I hear a train) and when the piano-driven song is at its highest orchestrated point, Rael looks Death right into the eyes…

Track 4: The Supernatural Anaesthetist

Death is impersonated by the supernatural anaesthetist. He approaches Rael, but it appears that he didn’t come to claim his soul and as such he disappears again.  This is the reason there are few lyrics in this song, which is mainly driven by Hackett’s guitar playing, including a beautiful outro. However, the anaesthetist left a charming impression on Rael: he’s such a fine dancer.

Track 5: The Lamia (+Track 6: Silent Sorrow in Empty Boats)

This track is really reigned by Tony Banks’ keys. Rael is tired of having this schizophrenic flashes in the middle of the rubble, so when he suddenly smells a strange scent, he decides to follow it to see where it comes from. It leads him to a hole in the wall and he succeeds to crawl through it. Now he witnesses the strangest thing: a pool filled with snakes all having female heads and breasts. The entities are seducing him to join them in the pool. Has this something to do with Rael’s criminal record? However, Rael stands astonished doubting his sight, struck by beauty, gripped in fright. Rael enters the pool and the Lamia start to devour Rael’s body but they end up dying because of his poisonous blood! The track flows over to ‘Silent Sorrow in Empty Boats’, a very calm interlude with a zooming mellotron, a sinister warning of what’s to come on side 4…

-Continue to Side 4–

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Prog Albums Explained: The Lamb Lies Down On Broadway (side 2)

Progressive rock, a genre to love or hate.  It originated in the late sixties thanks to heavy psychedelic rock influences and was pioneered by bands that wanted to go beyond the standard verse-chorus  based song structures.  As a result, often complex instrumental songs were bundled on concept albums with epic pretensions. It’s well possible that you once caught yourself asking what the hell one of these bands was trying to tell you while listening to one of their albums. The answers are provided here, in Prog Albums Explained. All you need  is the album, a comfortable couch and some good headphones.

[singlepic id=30 w=320 h=240 float=left]

 

 

Year: 1974

Genre: Progressive Rock

Preceded by: Selling England by the Pound (1973)

Followed by: A Trick of the Tail (1976)

Related to: Pink Floyd – The Dark Side of the Moon

 

 

Side 2: (continued from Side 1)

Track 1: Back in N.Y.C. + Track 2: Hairless Heart

These tracks are also treated as one as the first song smoothly fades into the second instrumental one. As Rael has now seen something and some people he is familiar with, he’s thrown in into a flashback that takes him back to the streets of New York City. He’s contemplating the times he had there together with the gang. How he gained their respect by misbehaving in several ways:  I’m the pitcher in the chain gang, we don’t believe in pain. In this way, this song gives the listener a first glance at the distorted mind of Rael which was discussed earlier in the title track. The music is creating some panic at this point, before fading into the instrumental interlude. No time for romantic escape, when your fluffy heart is ready for rape.

Track 3: Counting Out Time

Despite this warning from the last track, everything is becoming much more brighter in this song where Rael has his first experiences with love. We are now confronted with the softer sides of his character in what’s probably the most accessible song on the whole album. It has a catchy melody with a lot of synths that will stay in your head for days after hearing it, but the lyrics are probably still way too odd to become a mainstream hit (Erogenous zones I love you. Without you, what would a poor boy do?). Perhaps we should be happy about that. In fact, this song is the prelude to the next one, as the album is now reaching its melodic peak. Move over Casanova.

Track 4: The Carpet Crawlers

We are now at another absolute highlight of the album, musically (this would be one of the melodies that Gabriel has written)  as well as lyrically. Rael witnesses a bunch of people that fail to reach the top of a spiral stair, where they can escape from their misery. While the dreamy keys and synths that are producing some harp-like sounds certainly add a great part to the atmosphere, it’s above all the great mix between Gabriel’s lead vocals and Collins’ backing vocals that portray the helplessness of the people so well. Mild mannered supermen are held in kryptonite.

Track 5: The Chamber of 32 Doors

As we learn (after a great guitar solo) in this song, Rael has succeeded to reach the top of the stairs. Pity for our hero, the escape from his misery is still far away as he now ended up in a huge room containing no less than 32 doors (Are you listening, Moody Blues?). The room is filled with a large crowd that are all pointing to different doors, as only one door leads out. Rael is becoming desperate and begs for someone to show the right door. I’d give you all of my dreams, if you’d help me find a door that doesn’t  lead me back again. Take me away.

 -Continue to Side 3–

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Prog Albums Explained: The Lamb Lies Down On Broadway (side 1)

Progressive rock, a genre to love or hate.  It originated in the late sixties thanks to heavy psychedelic rock influences and was pioneered by bands that wanted to go beyond the standard verse-chorus  based song structures.  As a result, often complex instrumental songs were bundled on concept albums with epic pretensions. It’s well possible that you once caught yourself asking what the hell one of these bands was trying to tell you while listening to one of their albums. The answers are provided here, in Prog Albums Explained. All you need  is the album, a comfortable couch and some good headphones.

[singlepic id=30 w=320 h=240 float=left]

 

 

Year: 1974

Genre: Progressive Rock

Preceded by: Selling England by the Pound (1973)

Followed by: A Trick of the Tail (1976)

Related to: Pink Floyd – The Dark Side of the Moon

 

 

Introduction:

Genesis was one of the true pioneers of prog rock during the seventies, together with bands like King Crimson, Yes and Pink Floyd. The band was founded in 1967 by Peter Gabriel, Tony Banks, Mike Rutherford and some others who would be gradually replaced during the following years. Gabriel started as a drummer in his first bands before becoming the lead singer and theatrical frontman of this new band. Tony Banks contributed with his elaborate keyboard arrangements to what would become the typical Genesis sound, while Rutherford became the fanatical bass player of the group. They were joined in 1970 by Steve Hackett and Phil Collins (after having drummed for George Harrison on his solo track ‘The Art of Dying’), replacing respectively the former guitarist and drummer of the band.

In 1974, the band was at the peak of their popular and critical success, having released their epic masterpiece Selling England by the Pound the year before. But something bigger had to follow, so Gabriel designed a great project, just like Paul McCartney had done before with Sgt. Pepper’s and Roger Waters would do five years later with The Wall. At the same time it was the last album of the group with Gabriel, who contributed almost all the lyrics to the album. Those lyrics tell the story of Rael, a delinquent from NYC who is plunged into some surrealistic underground world that derived from Gabriel’s dreaming brain. The other guys came up with the music, but it’s the mind-blowing symbiosis of this music with the lyrics that produced an album that could impossibly ever be outbidden, even if Gabriel would have stayed with the band. Off we go.

Side 1:

Track 1: The Lamb Lies Down on Broadway

A frantic and fast piano-intro launches us right into the album, after which Gabriel officially declares that the lamb lies down on Broadway. However, the title track doesn’t have the goal to clarify the role of this lamb, but to introduce us to Rael. Rael just comes out of the subway, where he sprayed some graffiti on the walls to keep up his reputation with his gang. Not the most outrageous violation of the law, but the ominous distorted bass throughout the song from Rutherford tells us there’s more behind this, but what? He’s forgotten what he did…Lord knows what have I done?

Track 2: Fly on a Windshield + Track 3: Broadway Melody of 1974

I treat those tracks as one as they really merge together perfectly. In a threatening quiet way, Gabriel announces the coming of the ‘wall of death’, which attacks Rael. Totally being in the magic air that’s always above Broadway, the reality dies right there for Rael when the dust settles on his skin and he’s being alienated from other people: They carry  on as if nothing was there. Rael is now captured inside this wall (represented by a bombastic wall of sound, an improvisational idea by Rutherford), where a stream of strange images reaches him as if it was one big psychedelic trip.

Track 4: Cuckoo Cocoon

From the chaos we return to serenity with this track, in which Rael wakes up again. Suddenly he’s captured in some cocoon, where he has never been before. But the panic from a few minutes ago is totally gone, as Rael is at ease on his new location. This is beautifully illustrated by the soft guitar sounds and the fairy-like voice of Gabriel, who proves once again what a splendid vocalist he is. And I feel so secure that I know this can’t be real, but I feel good.

Track 5: In the Cage

However, the serenity is just temporary, as this cocoon has suddenly transformed into a cave in this track. Rael is surrounded by cages formed by stalactites and stalagmites, which are capturing him also. Being caught in this cage, this is the first time that his Brother John appears. Rael cries for help, but John doesn’t seem a bit interested. The marvelous dynamic between the thrilling music (especially the manic keys from Banks and the tambourines from Collins) and Gabriels stressed voice (My headaches charge, my earaches roar. In the pain, get me out of this pain…) makes this song an absolute highlight on the album. Eventually, John leaves and Rael’s cage dissolves at that very moment…  Keep on turning. Keep on turning.

Track 6: The Grand Parade of Lifeless Packaging

Being able to escape from his dissolved cage, Rael finds himself now in a building he seems to recognize from the real world. But how can you be sure that this is reality when you just came from such a surrealistic world? Well, Rael sees how persons are lined up in a Grand Parade of Lifeless Packaging, ready to be used for the consumer society: Stamped, addressed, in odd fatality. That evens out their personality. With profit potential marked by sign, I can recognize some of the production line. Scenario’s like these are too cruel to be made up in some surrealistic dream, so this must be our common reality. As cited, Rael recognizes some people and he even sees his Brother John again, labeled as No. 9! Is this the final explanation for John Lennon’s riddle from 1968?

-Continue to Side 2–

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“Blind man running through the light of the night ”: After the Gold Rush (Neil Young)

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Year: 1970

Genre: Country Folk

Preceded by: Everybody Knows This Is Nowhere (1969)

Followed by: Harvest (1972)

Related to: Crosby, Stills, Nash and Young – Déjà-Vu

 

 

 

Last time I spoke about the influence of a certain Neil Young on the music of My Morning Jacket. Neil Young is a man who used to rear chickens to sell their eggs when he was just a boy. Neil Young is the man Martin Scorsese had to re-edit his rockumentary ‘The Last Waltz‘ (about the goodbye concert of American group The Band) for, to get rid of the cocaine that was hanging from Neil’s nose during his performance. But above all, Neil Young is the man who delivered some of the most classic albums in music history.

Young was born in Canada where he became interested in pop music as a teenager and started to perform as a singer-songwriter in 1960, at the age of 15, after dropping out high school. During the early sixties, influenced by Bob Dylan, Young discovered that he also had a talent for writing beautiful folk songs. So in 1966, he left Canada and took off to Los Angeles, the place to be at that point for everyone with a guitar and some good songs. After meeting Stephen Stills, they founded the band Buffalo Springfield together. That band would fall apart after only two albums caused to high tensions between the band members, especially between Stills and Young. Where did we hear that before? Right, Young would join Stills again in 1969 for the super group Crosby, Stills, Nash & Young, another group that was condemned to a short existence.

But during those years in between, Young had already released two solo albums. In 1968 he debuted as a solo artist with the self-titled album Neil Young, including one of his well-known songs: ‘The Loner’. But Young apparently wasn’t such a loner after all, as he arranged a new backing band for his second album (Everybody Knows This Is Nowhere, 1969): Crazy Horse. This new combination resulted in some lengthy jams with that typical guitar sound Young was developing at that moment. Young considered Crazy Horse as ‘his Rolling Stones’, just like he saw Crosby, Stills & Nash (who he joined shortly afterward) as ‘his Beatles’, . They claimed worldwide fame with Déjà-Vu, broke up again and Mister Young was now ready for his international break-through as a solo-artist, trying to combine Crazy Horse and CSN on his next album: After the Gold Rush.

How to accomplish this better than letting Crazy Horse jam with you on a couple of tracks, inviting Stephen Stills to do some backing vocals and CSNY band member Greg Reeves to play the bass? The result is a stunning classic album, mainly consisting of country folk songs, a genre that originated in the early sixties, when folk artists started more and more to reinterpret old country songs, in this way establishing an hybridization of folk music with country music. As one characteristic of the genre is the presence of thoughtful and personal lyrics, this album is the perfect representative.

The album starts with the typical country sound of ‘Tell Me Why’. It’s just Neil and his acoustic guitar, till the backing vocals kick in, giving this opening track a little more weight. You can guess after the meaning of the song for yourself. The second track is my personal favorite, also being the title track. The first times I heard it, it sounded to me like a demure antithesis of John Lennon’s ‘I Am The Walrus’, with all kind of psychedelic lyrics. But Young is in fact warning us about what we’re doing to our environment, accompanied by a piano and a flugelhorn, which delivers a fantastic bridge in the middle of the song. Thom Yorke also covered this song solo during Radiohead‘s concerts in 2003, fading it into ‘Everything in Its Right Place’.

What follows is the first of four piano ballads that are on the album. Somehow they all have in common that they combine often melancholic lyrics with cheerful compositions, featuring a young Nils Lofgren (later on to become a member of Bruce Springsteen‘s E-Street Band) on piano. ‘Only Love Can Break Your Heart’ and ‘Don’t Let It Bring You Down’ are both great songs, as they show us Young  as a fantastic songwriter. The first one has this very recognizable lyrics, about how life’s simple before you fall in love. You’re not extremely happy, but everything’s just OK. Of course does love make you feel great, like you never felt before, but that same love is also the only thing that’s able to completely destroy you. The second one is a little more cryptic, but comes down to this: the world is a joke, I (Neil) know it, you know it, but don’t let this bring you down. Stay hopeful, because another attitude won’t help you any further.

The other two ballads, ‘I Believe in You’ and ‘Birds’, are both love songs (about doubts and goodbyes), which don’t really jump out among the other songs. Fitting in the same category is ‘Oh Lonesome Me’, a cover from the original song by country musician Don Gibson. Young turned this song into a beautiful lament about a dumped man, starting with an harmonica intro and with backing vocals contributed by Stephen Stills.

However, After the Gold Rush would never have become a classic album without the two songs where Young is joined by Crazy Horse, together jamming like on stage. First there’s of course ‘Southern Man’, one of Young’s most famous songs. This is the track that made me listen to the album more than once and in that way this song made me discover the other tracks out there. Don’t search for an intro, because there isn’t one: Young and the band immediately kick off with an upbeat piano and electric guitars. During the song Young condemns the racism in the American South, asking himself when the southern man is going to pay back the black people for treating them like slaves. The other grooves are to be heard on the heavily amplified ‘When You Dance I Can Really Love’. This song also has this upbeat rhythm and a nice bassline, with the band having an awesome jam towards the end, including a nice solo from Young.

The remaining songs are ‘Till the Morning Comes’ and ‘Cripple Creek Ferry’, both about  one and a half minute long. The first one is, according to my interpretation of the lyrics, about a guy who is only waiting till the morning comes. The other one is an easy going little country song, which closes the album perfectly.

In the years following After the Gold Rush, Neil Young would first reach it’s highest commercial peak on his next album Harvest, containing his only number one hit, ‘Heart of Gold’. Then followed the so-called Ditch trilogy, full of songs drenched in depression, and many many more albums till today. Young succeeded to create a different sound on every one of them, making his discography as eclectic as a Captain Beefheart song. But the best starting point to discover this man’s work must be After the Gold Rush. Take your time, give the album an extra chance if necessary, but never, never force yourself to like it.

Top Tracks:
1. After the Gold Rush
2. Southern Man
3. Don’t Let It Bring You Down

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“Just cause it starts off slow babe, doesn’t mean it don’t have a heart.”: It Still Moves (My Morning Jacket)

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Year: 2003

Genre: Rock, Alternative Country

Preceded by: At Dawn (2001)

Followed by: Z (2005)

Related to: not available yet

 

 

It was a couple of years ago when a friend of mine recommended me this album. I was in the middle of exploring all the music out there that was made in the sixties and seventies and I was a little sceptic about music from a more recent age. But this strange band name kept fascinating me in some way and when I saw the album cover with this giant stuffed bear combined with the album title It Still Moves, I decided that this record deserved to be listened to at least one time. Seventy minutes later, this album had proved that solid rock ‘n roll and beautiful melodies did survive through all those years, I just didn’t search well enough.

It was singer-songwriter and guitarist Jim James who formed this American band in Louisville in 1998. He recruited the rest of the band out of the emo-punk band Winter Death Club, where his cousin Johnny Quaid played guitar, Tom Blankenship was the bass player and J. Glenn was on drums. During those early days, My Morning Jacket principally was an alternative country band. This genre came into existence during the nineties, parallel with the upcoming success of alternative rock. It contained a range of musicians that were playing beyond the borders of traditional country. As such, they drew inspiration from country rock (fusing country with rock ‘n roll) pioneers like Gram Parsons and Steve Earle, with themselves opting for a more lo-fi sound.

As this new alternative country, lo-fi band, My Morning Jacket debuted in 1999 with The Tennessee Fire, which became a hit in Europe. But it was only with their second album, At Dawn, that their popularity started to grow at home. Just like It Still Moves that would follow later on, this album started to show more classic rock influences, featuring more electric guitar sounds than on the previous album. This makes that the sound of the band on It Still Moves always reminds me of Neil Young and Crazy Horse, with its typical screaming classic rock guitars. Another thing that is very characteristic for the album is the use of reverb, continuously producing a lot of echoes throughout the songs.

So there we are, comfortably lying in our couch, headphones on our heads and the album in our hands, counting twelve songs. Seventy minutes you said? Yes, the band takes its time to tell their story, but don’t worry, it’s constructed in a genius order. It all starts with ‘Mahgeetah’, a fantastic opening track, which immediately became my early favorite. Why wait with long, drawn-out vocals and powerful guitar riffs in reverb when you can throw them in right from the start while singing about the love for ‘my guitar’, that’s what Jim James must have thought.

During the next two songs, James takes us on tour with the band and that guitar. First we hike across nightjails and poolhalls on ‘Dancefloors’, escorted by a sweet guitar riff which is towards the end suddenly supported by a great horn section. But all the touring and dancefloors exhausts us and besides, we are starting to miss the things we left behind. So James makes us a campfire, pulls out his acoustic guitar and lets us dream about golden shores. On ‘Golden’, the band returns to the alt-country from the earlier albums for a moment, adopting the style of The Band.

We travel further and we end up at the, as the title already presumes, masterpiece of the album: ‘Master Plan’. It seems like Neil Young and his Crazy Horse have hit the empty highway again, surrounded by tumbleweeds and a haunting sunset. James’ voice is the most important instrument here, telling us the best plans end up really sweet, even if it looks like a routine. The classic rock party continues with ‘One Big Holiday’, the band’s greatest hit and traditional encore of every live show. This song is entirely built around its catchy guitar riff, which almost automatically makes you pick up your air guitar.

Put away this guitar again and drop into your couch again for ‘I Will Sing You Songs’. On ‘Master Plan’, James sings ‘Just cause it starts off slow babe, doesn’t mean it don’t have a heart’. This really applies to this song, with a long instrumental intro and outro. Beautiful fragile song with a riff that somehow always reminds me of Pink Floyd‘s ‘Us and Them’. After this moment of rest, we salute the ‘Easy Morning Rebel’, with again a very ‘Crazy Horsesk’ jam in the end. We ‘Run Thru’, one of Rolling Stone’s 100 Greatest Guitar Songs, not to mention the fantastic drumsolo in the middle of the song which lets the song explode right again when you think it’s over.

Personally, I think the following two songs, ‘Rollin’ Back’ and ‘Just One Thing’, are the least of all. But the album has another peak towards the end, with ‘Steam Engine’ and ‘One In The Same’. The first one, just like ‘I Will Sing You Songs’, mainly is about James’ voice and a basic drum beat, this time accompanied by a softly whimpering guitar and fantastic drawn-out vocals in the end. The final track of the album is another personal favorite. The band is gone, and only Jim James and his acoustic guitar remain in the empty hall, trying to fit the pieces of his mind together again. It’s hard to think of a more beautiful way to end an album as with the line “It wasn’t till I woke up that I could hold down a joke or a job or a dream. But then all three are one in the same”.

My Morning Jacket continued to make music after this album, widening their sound with all kind of other influences, ranging from funk through reggae. Some members were replaced by others because they couldn’t endure the heavy touring anymore, but don’t hesitate if you ever get the chance to see them live, as their performances are still breathtaking. But start with this album first.

Top Tracks:
1. Master Plan
2. One In The Same
3. Golden