Recently Acquired: Lou Reed – Rock ‘n’ Roll Animal
Published May 3, 2013No better way of relaxing for the true album lover than a visit to his local second-hand record store. There he stands, browsing his way through the piles of records, driven by the thrill to find that one album that’s missing for so long now in his collection. And in the end, he ends up buying something completely different. The acquisition of this week:
Year: 1974
Genre: Hard Rock, Glam Rock
Preceded by: Berlin (1973)
Followed by: Sally Can’t Dance (1974)
Related to: not available yet
Not many albums out there that ravished me immediately from the start, but The Velvet Underground & Nico (1967) from the same band and singer was one of them. The droning guitars and the strange, fascinating lyrics made this album incomparable to any other album I knew at that moment. It didn’t take long before I started to explore all other works of the band, and I loved it without an exception. However, it somehow took me way more time to appreciate the solo work from one of its main members: Lou Reed.
Reed comes from Brooklyn, New York, where he met his Velvet partner John Cale (bass guitar and other instruments) in 1964. Cale liked Reed’s guitar playing, as he heard him playing ‘Heroin’, one of the songs that would appear on the debut album (mentioned above) of the band those guys would soon form together with Sterling Morrison (guitar) and Maureen Tucker (drums). As a band they quickly drew the attention of pop art guru Andy Warhol, who added his protégé Nico (a German fashion model and singer) to the line-up. The resistance of Reed against this change resulted in the title of the debut album.
The Velvet Underground would continue to make albums with that revolutionary sound on it, as would Reed do as a solo artist. But in fact there’s no better way to run over these most successful years of this man than by listening to his magnificent live album from 1974: Rock ‘n’ Roll Animal. The original version of this album contains five songs stemming from different periods of his career, all performed in a blazin’ glam/hard rock set at Howard Stein’s Academy of Music (New York). Just like artists as David Bowie and Roxy Music, Reed was in the middle of his androgynous period back then, wearing leather clothes and nailed leashes and having his face greasepainted. But above all: Rock ‘n’ Roll Animal would become his best-selling album.
The album kicks off with a delicious, elaborate guitar intro. After only one minute you will already catch yourself playing the air guitar as if you were Reed himself. After a while you will recognize the tones of ‘Sweet Jane’, one of the Velvet’s greatest hits, from the album Loaded (1970). Reed was the only songwriter on this album (Cale had already left the band) and would leave the band before the album was even released. The goal of this album was already to get some airplay on the radio, but it turned out to be even completely edited without the consent of Reed. Maybe this is the reason that Reed chose two songs from the album and played them in adjusted style, with ‘Sweet Jane’ being a real hard rocker here.
After this 8 minute opener Reed continues with a pumping glam rock version of ‘Heroin’, adding 6 minutes to the original 7 minutes track on The Velvet’s debut. As the title more or less predicts, this song is about the use and misuse of heroin. As Reed did on more songs on this album that handle with themes like drugs and sadomasochism, he gives an objective description without taking a moral position on the subject. The song is also live still characterized by its phenomenal (gradual) increase in tempo till it reaches a tearing crescendo.
On side B we proceed to the second Velvet album White Light/White Heat with the eponymous track. Nico is meanwhile exiled from the band and they continue to make ‘songs’ about controversial themes like travesty and trans sexuality. The band also keeps searching for ways to renew their sound, well portrayed for example by the song ‘The Gift’, which contains the recital of a short story told by John Cale on the left speaker channel while an instrumental rock song is played at the same time on the right channel. The song played here by Reed is the fast, aggressive opener of the album, about the sensations provided by the use of methamphetamine.
What follows is the only track from one of Reed’s solo albums: ‘Lady Day’, which is the second track from his third solo record Berlin. Reed had his break-through as a solo artist with his second album Transformer. A great role on this album was foreseen for Mick Ronson, the guitarist of David Bowie, as co-producer (next to Bowie himself) and session musician. It brought Reed lots of international success, but he wasn’t fulfilled with this. That’s why he declined to make another album with Bowie, followed by the release of Berlin as follow-up to Transformer. This album is a kind of concept album about a drug addicted couple from Berlin, characterized by its heavily orchestrated parts and contributions by top musicians like Jack Bruce (Cream) on bass and Steve Winwood (Traffic, Blind Faith) on organ and harmonium). ‘Lady Day’ is told from the prospective of Jim, one of the characters on the album. He tells us about his concern about the fact that he’s losing control over the life of his girlfriend Caroline, who’s going on a razzle in the obscure Berlin bars.
The final track is another extended (10 minutes) version from a former Velvet hit: ‘Rock ‘n’ Roll’. The song is also from the album Loaded and is a true ode to rock music. Reeds tells the story of a girl named Jenny whose life was saved by Rock and Roll, in a version full of improvisational guitar licks. During this track you really can’t keep sitting still and you absolutely have to grab your air guitar for the last time before throwing it in the delirious crowd.
Top Tracks:
1. Intro/Sweet Jane
2. Lady Day
3. Rock ‘n’ Roll
“I need your pain killer, Doc, shot inside of me”: Vincebus Eruptum (Blue Cheer)
Published March 25, 2013
Year: 1968
Genre: Blues Rock, Psychedelic Rock
Preceded by: -
Followed by: Outsideinside (1968)
Related to: Led Zeppelin – Led Zeppelin, The Jimi Hendrix Experience – Are You Experienced
Fortunately for the development of music in all its variation, especially the heavier genres, there were always bands out there that asked themselves if things couldn’t be played a little louder. Blue Cheer certainly was such a band.
It’s 1968 and a big part of the music scene was embracing the progress technology had made with regard to improving amplifiers and electric guitars. Especially the possibility to significantly amplify the sound of the bass guitar made it possible for bands to play as loud as possible without losing the sound of the bass. This was the deciding development that notorious blues rock artists like Eric Clapton and Jimi Hendrix were waiting for to form their own power trios, consisting of guitar, bass and drums. Bands like Led Zeppelin and The Who in fact used the same concept, adding a seperate singer. 1967 subsequently brought us Hendrix’ Are You Experienced?, 1969 Led Zeppelin’s debut album and 1968 had Blue Cheer’s impressive debut: Vincebus Eruptum.
Just like those two acts, Blue Cheer reinterpreted old blues songs and took them to higher and louder levels using loads of amplifiers. Hendrix ofcourse added the psychedelic influences that were characteristic for those times. With Blue Cheer being located in San Francisco and being called after a kind of LSD (at its turn called after a washing product), it may not be surprising that those influences are also present on their debut. If you’re looking for extensive improvisation, hyperamplification and lots of distortion, this is the album that definitely should be in your record collection. No other band of that time in my opinion had the raw intensity and energy of Blue Cheer, making them blow up their complete equipment the first time they tried to record this album.
Blue Cheer was founded in 1966 with the original line up consisting of Dickie Peterson on bass (which he played since the age of 13) and vocals, Leigh Stephens on guitar (ranked 98 on Rolling Stones’ 100 greatest guitarists of all time) and Eric Albronda on drums. Albronda was subsequently replaced by Paul Whaley and the band recruited some extra members on guitar, keyboards and harmonica. But, according to the myth, they brought the band down to a power trio after witnessing Hendrix’ mind blowing performance with his Experience at Monterey. So Dickie Peterson, Leigh Stephens and Paul Whaley remained as the line-up for the first album, consisting of 6 songs with a total length of about half an hour. But don’t worry, just turn the record over again.
The LP starts with the bands only real hit, a cover of Eddie Cochran’s blues song ‘Summertime Blues’. This must be the ultimate example of transforming a classic blues song into blues rock, played that hard that it’s drawing the outlines of hard rock. The first part of the song combines an extremely pounding rhythm section with a crying guitar, immediately giving you the opportunity to test your own sound equipment. The riff in the middle of the song reminds of Hendrix’ ‘Foxy Lady’, after which the guitar becomes a rollercoaster, steadily taking off and at its peak crushing down at high speed. This version beats The Who’s interpretation of the song hands down if it comes down to muscular strength and roughness.
An even greater blues classic follows quickly, when B.B. King’s ‘Rock Me Baby’ sets in. Also covered amongst others by Otis Redding (a great idol of singer Peterson), this song sticks to the typical blues sound of the guitar with another pumping combo of bass and drums adding the rock here. If not already taken place, everthing goes mental on the third track, Dickie Peterson’s self-proclaimed drug anthem ‘Doctor Please’. Peterson experienced a lot of funny feelings in his head at the time and sings about them after a rough intro of Paul Whaley. The song is about 8 minutes long and offers you the best definition of the term ‘power trio’. The energy drips out of your speakers when guitar solos, kicking drums, the screaming voice of Peterson and heavy bass sounds keep interchanging before exploding together now and then. This also reminds of later stoner rock from bands like Kyuss.
The next song, ‘Out of Focus’, lasts four minutes but was written in ten minutes according to Peterson. This song also has some psychedelic lyrics about angels in mystic dreams, propelled by a haunting guitar riff from Stephens. The roughness of the instruments and Petersons howling voice on this track marks the difference between Blue Cheer and more polished power trios like Clapton’s Cream. It’s followed by another cover, ‘Parchment Farm’, from jazz and blues pianist Mose Allison. This song offers some space for some extensive jamming just when you think the song has ended, while Peterson sings sightly funny lyrics like “I’ve been sitting over here on Parchment Farm. Ain’t ever done nobody no wrong. All I did was shoot my wife. She was no good! “. ‘Second Time Around’ offers you one last chance to pick up your air guitar, as the riffs are very sweet again. Towards the middle of the song, Paul Whaley throws in a wild drum solo, after which all the remaining distortion and psychedelic effects out there are used to close the album, definitely a personal favorite.
After their debut album, the group was confronted with a lot of personnel changes, with their style developing towards a more commercial sound during the seventies and eighties. Periods of activity and temporary break-ups followed eachother, before breaking up for once and for all in 2009 after the death of Peterson, the only continuing member troughout the years. But Vincebus Eruptum remains an essential album to understand the concept of a power trio. Enjoy.
Top Tracks:
1. Doctor Please
2. Second Time Around
3. Summertime Blues
Posted in 1968, Blue Cheer, Blues Rock, Classics Reviewed, Psychedelic Rock | 
amplified bass guitar, dickie peterson, drum solo, eddie cochran, extensive improvisation, hyperamplification, improved amplifiers, mose allison, power trio, psychedelic lyrics, san francisco, summertime blues | 
Leave a comment“You are your mother’s only son and you’re a desperate one ”: The Smiths (The Smiths)
Published February 22, 2013
Year: 1984
Genre: Alternative Rock, Indie Pop
Preceded by: -
Followed by: Meat Is Murder (1985)
Related to: not available yet
No history book gives a better insight into the UK of the 1980′s than The Smiths’ self epynomous debut album: a country under the reign of Thatcherism and confronted with dangers like AIDS and crimes like the Moors murders. Besides, the album reintroduced the guitar in a world of synthesizers, laying the groundwork for how music would sound like in the UK of the 1990′s. Like that isn’t enough for an album review.
Thank God The Smiths were there during the mid-eighties, reshaping the musical landcape while standing on the remnants of post-punk, a genre pioneered by bands like Joy Division. The charts were ruled by bands like Culture Club, and there simply wasn’t a way out of this decade yet, it was only 1982! There was only one option left: be an eigties band in the sense of being against it. Call upon this lost generation you see around you and see how many followers you can get. It happened to be a very successful call, as it meant the birth of alternative rock in the UK, more specifically indie pop, which means it principally sticks to melodies. ‘Indie’ basically means they did everything themselves, according to punk’s DIY-strategy: make your own records with your own artwork, release them by yourself and write your own fanzine about it.
To be a little more specific, it was down in Manchester where Steven Patrick Morrissey and Johnny Marr met each other, being both children of Irish immigrants. The first one had already fronted a punk rock band (and would soon drop his first names) and the latter was a guitarist-songwriter. After recruiting Andy Rourke and Mike Joyce as definite band members on bass and drums respectively, Morrisey called them The Smiths, as it was the most ordinary name out there. The recipe for their sound was a great dose of post-punk filled up with sixties rock, a straight outcome of Morrisey’s and Marr’s background. It’s well-known that Morrissey is a huge fan of punkrockers New York Dolls, but also of sixties icons like Dusty Springfield and Marianne Faithfull, while Marr’s jangly guitar sound was obviously influenced by The Byrds‘ Roger McGuinn and (by consequence) George Harrison.
After releasing some singles, the band would come up with their debut album in 1984: The Smiths, featuring the actor Joe Dallesandro on the cover. The album met with a lot of controversy, as a number of songs would deal with the theme of pedophilia, which was always denied by the band. If you give the songs a closer look, the central theme of the album would rather be the loss of innocence instead. Let’s run over them.
It all starts with a short drum intro before Morrissey’s voice kicks in on opening track ‘Reel Around The Fountain’, the longest track on the album. Morrissey sings about losing your innocence with someone who just sees you as a sexual object, while Marr’s Rickenbacher quietly follows on the background. The main character knows this other person just wants sex from him, but his love is too big to refuse another 15 minutes of pure lust. ‘You’ve Got Everything Now’ also has this solid rhythm section, with some really fantastic lyrics. Some people will without any doubt recognize themselves in this story of a guy leaving school feeling he has more talents than his peers, but ending up jobless while these other people have success. But are these people actually happy? Because ‘I’ve seen you smile, but I’ve never really heard you laugh’.
Another favorite of mine is the next one: ‘Miserable Lie’. It all starts off slowly with a some smooth guitar playing and drums, but suddenly explodes when Morrissey lets free all his rage about the lie love often is, when just being an excuse to get in somebody’s pants as fast as possible. In a third section, the vocals become much higher (sounding desperate) and an occasional guitar solo is added. Alltogether, this is an awesome track which still has that raw Joy Division sound, revealing the bands post-punk roots. In case you wondered if Morrissey had any confidence in women left, the fourth track gives you the answer: ‘Pretty Girls Make Graves’. More than any other song on this album, it really idealizes the concept of innocence, guided by a delicous funky bassline and closed by a very melancholic solo riff from Marr.
It seems that this riff continues in a more amplified way on the next track: ‘The Hand That Rocks The Cradle’. This is another song meeting a lot of controversy, which isn’t surprising if you listen to the slightly repulsive lyrics for a first time. Of course it could as well be about just protecting your children, I leave the interpretation to the listener. ‘This Charming Man’ (you got to love Morrissey’s song titles), didn’t appear on the original release, but it did on all other versions that followed. Marr wrote this up-beat song with very catchy guitar riff, while Morrissey added this mysterious story about an encounter with a stranger using a very vulnerable voice.
‘Still Ill’ shows the melodious tandem that Morrisey-Marr certainly was, as vocals and guitar playing are perfectly adjusted to eachother here. The song reaches its peak for me personally on the line ‘If you must go to work tomorrow, well if I were you I wouldnt bother’, which is I believe a clear but subtle rejection of Thatcherism, which ideas were really hated by Morrissey. Another highlight (musically as well as lyrically) then, when ‘Hand in Glove’ starts. Seldomly was loneliness (Morrissey often was lonely and depressed during his adolescence, but this shouldn’t surprise you anymore by now) better portrayed than in this song. But wait a minute, what’s that sound on the background? Oh yes, in a time where even the guitar was almost replaced by synthesizers, an harmonica is suddenly thrown in, completely in Beatles‘ ‘Love Me Do’-style.
Three songs left then, but ‘What Difference Does It Make?’ (although featuring another nice guitar riff) and ‘I Don’t Owe You Anything’ are in my opinion among the least tracks. But the album closes in a beautiful way with ‘Suffer Little Children’. Although the theme is very sad, the Moors murders that took place between 1963 and 1965 near Manchester, it’s another fine example of the chemistry between Morrissey’s voice and Marr’s guitar.
After their debut, The Smiths would release another 3 albums (of which their second, Meat Is Murder, was their only to reach number one in the UK) before breaking up in 1987. Morrissey would pursue a solo career later on, while Marr started other projects with all kind of other atists. The Smiths would (and will) never reunite again, so please enjoy the music they left us.
Top Tracks:
1. Miserable Lie
2. You’ve Got Everything Now
3. Hand In Glove
Prog Albums Explained: The Lamb Lies Down On Broadway (side 4)
Published January 5, 2013Progressive 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.
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..
Prog Albums Explained: The Lamb Lies Down On Broadway (side 3)
Published December 12, 2012Progressive 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.
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-
Prog Albums Explained: The Lamb Lies Down On Broadway (side 2)
Published November 24, 2012Progressive 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.
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-
Poll
Loading ...Jukebox
