The ultimate "who am I?" album!

I realize that everything that can possibly be said about this album already has been said, but y'know what? I'm gunna say it again anyways. This album is a masterpiece that deserves all the praise it can get. Three incredibly strong tracks fill the two sides of this album like some kind of behemoth in a cage just waiting to get off those grooves and into the air. All three tracks are worth of their own paragraphs, and so they'll get them... in time. First, a disclaimer. This is not an album (or band for that matter) that's easy to get into for most people. I bought this album when I saw it sitting in the various V section at a used record store I used to live near and threw it on for the car ride home (which was about a 2 hour drive... that's close! I live in Canada after all!). It was a dark night and the soundscapes that filled my car both confused and terrified me. Because that's the kind of music VdGG makes... it's as though black stormclouds will gather if you listen to them too loudly. Anyways, luckily this was not my first experience with the VdGG, and I gave the album another listen when I got home. I thought, "cool", and then the album sat on the shelf for a couple months. Later, I picked it up again and decided to give it another whirl. Whoa, I was blown away! What amazing music! So, to summarize that pointless little anecdote: Always, always give this band a second chance if you don't them off the first listen.

Onto the songs.

The album starts off with the bizarre LEMMINGS (Including COG). Here's a great, winding sax track that takes the audience on a nice little journey until finally delivering them to the next track via quick drumbeat outro. This is one of the more accessible songs on the album, and starts the album theme of "who am I? What do I do?", that recurring theme that Hammil loves oh so much. Anyways, not the album's best track, but definitely a VdGG classic none the less.

Next up is the supreme MAN-ERG. This is a terribly dark track that starts out rather softly and beautifully, if a bit creepy, thanks to the lyrics ("The killer lives inside me, yes I feel him move. Sometimes he's likely sleeping in the corner of his room. But then his eyes will rise and stare through mine..." ect). Great delivery by Hammil that breathes complete and total life into the track until -- bam, you're bombarded by sax from all sides. "How can I be free!?" screams Hammil as the sonic waves attack you from all sides like some sort of torrent out at open sea. The track continues until we're back at the pretty parts again, some more insanity... and soon the track ends, leaving you wondering what the hell just happened. Amazing.

VdGG's greatest epic, and only side long outing A PLAGUE OF LIGHTHOUSE KEEPERS. Most often compared to "Supper's Ready", and for good reason, it's a divided track that doesn't fuse into one continuous song like CTTE or TAAB, regardless, it should be held in as high esteem simply for it's pure, uh, awesomeness! It starts great and low key, and eventually unfolds until it reaches full out choas around the 10 minute mark, then it reaches something beyond conceivable chaos around 16 minutes (the 4th dimension of chaos!). It slows down enough to let you breath right near the end and then, just like it's predecessors, it's over. Each band member plays to their finest, and yet again Hammil does wonders with the vocals. The lyrics are well thought out too, with the theme being that really no one knows who they are, using the lighthouse keeper against the ocean as it's metaphors. And of course the story is much deeper than that, but if I were to go into it the review would become far too long. Anyways, this is a great, if bizarre, track that could not have been pulled off any better than the VdGG boys did, and perhaps it could never be done by anyone other than them to start with. This is VdGG at their very finest, and if you doubt that go listen (or relisten) to this song. Simply stunning.

To conclude -- even if you have a small collection this album should be in it. Be weary, listen with an open mind an give it a few shots, if you don't "get it" right away you will likely later. VdGG's definitive album, this can't be missed! 5 stars!

'Death Walks Behind You' is an album I've been acquainted with for over 20 years, longer than some, shorter than many more, and, at least to me, has withstood my ever-growing discerning tastes (mind you, at times that may be questionable...). I definately find Vincent Crane and his fellow bandmates much more interesting than their oft-said equivalent, DEEP PURPLE. The creative composition and relentless execution on their instruments always leaves me breathless. Breathless with their talent, not their dark aura. We all know now that instigator Vincent Crane was a troubled individual who suffered from manic-depression (don't most of us at some stage ??) and succumbed to the pressure of this debilitating condition (bless him, bless Jean). Fortunately for us, most of his work with Arthur Brown, Atomic Rooster and Rory Gallagher (he also contributed some piano for the new-wave ensemble 'Dexy's Midnight Runners', too) are left behind to remind us of his contribution to the music world, 'Death Walks Behind You' being a superb example of this 'heavy' arrangement and immense talent. Cool sleeve notes have been left by Vincent on the back of the LP for each track - most pieces are long-ish and highlight extraordinary Hammond Organ and vibrant lead guitar interplay. Even drummer Paul Hammond puts in his share of hard work. One thing that's instantly noticable is the lack of a Bass Guitarist - bass duties are now handled by Vincent via 'strong left hand and foot pedal techniques' on his Organ (move over Ray Manzarek). The songs are really fantastic, dark and forboding, exciting and inventive, even complex. The title song kicks off the album, 7+ minutes of piano infused heaviness. Great intro, top riff and a bluesy piano interlude. The song is really good. There's one thing that gets me though - the 2nd track 'Vug' is clearly an instrumental, the sleeve notes say " For deliberate reasons, we mixed the vocals way back on this number " - what vocals ??? Anyway, it's a brilliant piece of music which shifts rhythms throughout and show-cases some rather complex organ and guitar lines. 'Tomorrow Night' is a song that reached the Top-Ten in England at the time, and is understandable why ; catchy melody, great design, memorable tune. Minus my ramblings, the next few tunes are all well structured and satisfying, even the ballad 'Nobody Else'. Album closer, the 8min 'Gershatzer', is an instrumental that rivals E.L.P. and Deep Purple at their boldest - absolutely *wild* organ inventions, fiery guitars and even a well recorded drum solo (better than many) lace this composition, designed as a 'stage number'. Some beautiful piano playing can also be noticed. This is simply a must- own album of progressively flavoured Hard-Rock and stands up proudly as one of my 5 star masterpieces - it may be one of yours, too.....