GALACTIC ZOO DOSSIER

If you know of Arthur BROWN, you already know THE CRAZY WORLD OF ARTHUR BROWN and his 1968 hit "Fire". But what a lot of people don't know was that his career didn't begin and end with "Fire" and THE CRAZY WORLD OF ARTHUR BROWN album. After a couple of abortive followup recordings (that surfaced years laters, as "Strangelands" and "Kingdom Come" & "Jam"), Arthur BROWN put together "KINDOM COME (not to be confused with the '80s metal band), a much more adventurous band). "Galactic Zoo Dossier", from 1971, is BROWN's first official album with KINGDOM COME, with him on vocals, Julian Paul Brown on VCS-3 synth, Desmond Fisher on bass, Michael "Goodge" Harris on organ, Andy Dalby on guitar, and the occasional additional vocals, and Martin "Slim" Steer on drums. Anyway, you hadn't heard anything until you hear this!

The music is more aggressive than THE CRAZY WORLD OF ARTHUR BROWN, plenty of wild guitar work, killer organ, and of course, Arthur's voice. The opening cut, "Internal Messenger" features a bunch of babbling about sinning before the song kicks in. This sounds like THE CRAZY WORLD OF ARTHUR BROWN with guitars. The next song is the mellower "Space Plucks". The album is often segued in with some really twisted, experimental pieces like "Metal Monster" and "Night of the Pigs". I own the original LP, and while there is nothing wrong with the LP other than the usual wear and tear, "Metal Monster" features intentional sounds of skipping, that sounds a lot like a CD skipping (even though CDs were not going to be available for another 12 year), so no, it's not a defect. Another favorite of mine is "Simple Man", another one of the more mellow pieces with some bizarre synth from Julian Paul Brown.

Side two opens up with a song written and sung by Andy Dalby, called "Trouble". It's largely an acoustic piece with lyrics a lot more hippie-oriented than what Arthur BROWN came up with. The album really gets off the deep end with "Creep" and "Creation" as Arthur BROWN simply spouts poetry (resembling Robert Calvert's poetry off HAWKWIND's "Space Ritual") against a relentless backdrop of noise. After Arthur stop screaming, while the "music" speeds up, then it segues in to "Gypsy Escape", an instrumental number that sounds a bit like ELP. The last song, "No Time" is more or less "back to normal" (at least as normal as this album gets) with a recurring theme to "Internal Messenger". Regardless, a totally mindblowing album that shouldn't be overlooked.

The "God Of Hell Fire" returns with a terrifying foreboding album full of dark progressive moods and psychedelic auras. I really had no idea that these guys were so good and so progressive. With Authur Brown on vocals, Andy Dalby on guitars, Michael "Goodge" Harris on organ, Julian Paul Brown on VCS-3 synthesizer, Desmon Fisher on bass, and Martin "Slim" Steer on drums these guys were able to create an incredible album that simple "lives". In case anyone listens to this album for the first time I warn you that you may suffer severe brain damage. I guess you could place it somewhere in the company of a cross of good ol' VAN DER GRAAF GENERATOR with maybe hints of ATOMIC ROOSTER, PINK FLOYD and hints of VANILLA FUDGE. Arthur Brown was know as an artist that did the unexpected and on this album there is a track "Metal Monster" which was recorded for a portion backwards and sounds like it is skipping... this is in fact intentional and not a manufactures defect. The end result is a quirky monster prog album with some amazing warm tones and wild stuff abounding. One of Unger's favs and a necessary album to own in your collection. But again I warn you it may blow you mind !

A psychedelic bomb!

This one is stunning and unique work, using all studio tricks to enhance the overall psychedelic experience, and with good success. This album actually divided in to two great epics, which every song connects to the next one continuing that line of thought. Music is of course psychedelic progressive with a lot of humor incorporating brown's long range of excellent vocals, trippy instrumentals, weird interludes and all of the studio manipulating you can have, from shifting pitch to shifting speed, or just messing with the tape to make you think is my cd scratched or what?? This is crazy stuff even for today.

There is a lot to love here because the diversity is enormous from the groovy rocky opener to crazy interludes to airy songs with good synths amazing guitar and on top of that the vocals of the one and only arthur brown, as wacky as he may be sometimes, he can really sing some emotional stuff when needed, just check out 'sunrise' to get the picture. I am truly surprised at how is everything so progressive too, the development is very good always interesting, keeping you alert every second. Vintage sound lovers will find so much here, the arsenal of sounds is vast coming from the various keyboards included, making this release so colorful.

Although a very psychedelic album it still wins the test of time, sounding refreshing and exciting. I had such a good surprise finding out that this group working under the singers' name were actually very capable musicians not only by playing but also writing everything. This psychedelic style is not space rock and there are no long songs with long solos and trippy kind of vocals, it is more progressive with psychedelic aura around. Very good stuff , don't miss it.

When I bought this album back in 1971 I had no idea what to expect. It had been a few years since The Crazy World of Arthur Brown, and -- it being the 60s's -- rumors were that Arthur Brown had indulged a bit too much in the psychedelics and had been relaxing in a mental institution during that time. Upon setting needle in the groove and hearing the first moments of Galactic Zoo Dossier, I was wondering if the rumors weren't in fact true. And then, the initial groove of Internal Messenger arrived and I realized I was once again in the presence of a master vocalist, who had once again assembled a first-rate band.

There's a bit of everything on this one: pile-driving rock (Internal Messenger), pure organ-driven prog (Creation/Gypsy Escape), general weirdness (Metal Monster, Night of the Pigs), and more standard majestic rock fare (Sunrise, with Andy Dalby's beautiful guitar work).

What's harder to describe is the magic contained in all the segues between the songs, the strange little blips and bleatings emitting from the VCS synths, and the lyrics that are sometimes stunningly erudite for what was essentially a rock band with prog leanings.

Or to put it another way:

This is Thick As A Brick (pan to shot of album cover of TAAB).... pause... This is Thick As A Brick on drugs (pan to shot of album cover of Galactic Zoo Dossier)....

This is one of my all-time favorites. It literally does rank with Close To The Edge, TAAB, whatever KC album you can name, etc. Maybe not for every listener, but to this day I've never heard a better album. I can't give it anything less than a 5.

"Galactic Zoo Dossier" is the debut full-length studio album by UK rock artist Kingdom Come (marketed in the US as Arthur Brown´s Kingdom Come). The album was released through Polydor Records in October 1971. After the split-up of The Crazy World of Arthur Brown, lead vocalist Arthur Brown worked with Strangelands, Rustic Hinge, and the Puddletown Express, but none of them for too long and when he met bassist Dennis Taylor the two of them founded Kingdom Come in September 1970 (Tayler became the band´s tour manager). Although the band name was just Kingdom Come, the label felt they needed to market the band under the Arthur Brown´s Kingdom Come in the US, to signal that Arthur Brown was the lead vocalist in the band. This was due to the huge commercial success of The Crazy World of Arthur Brown´s major 1968 hit single "Fire", which made that band pretty famous in the US.

The "Galactic Zoo Dossier" is in some ways the natural successor to The Crazy World of Arthur Brown´s debut and sole album release (the 1968 eponymously titled album), but brought into the seventies. So while this still features some hard rocking guitars and organic drums and bass, "Galactic Zoo Dossier" is an even more theatric, progressive, and psychadelic release. Brown sounds like Tom Jones on acid and his powerful and quite varied vocals are one of the great assets of "Galactic Zoo Dossier". The clever and intriguing organ/VCS 3 synthesizer use bring a lot of atmosphere and dynamics to the music.

When the band are most challenging I´m reminded of a less technical Gentle Giant, but Kingdom Come are generally not easily labelled. This is very eclectic music it can go from mellow psychadelic rock, to dissonant progressive rock, to classical influenced music parts, to theatrical sections, to jazz/rock and blues rock in a matter of minutes. Kingdom Come strike a good balanced between the ominous, melancholic, and silly and humurous, so "Galactic Zoo Dossier" is an album spanning wide on the mood scale.

If you (like me) felt that The Crazy World of Arthur Brown was a bit immature and not that well produced, a lot of the otherwise undeniable potential of that group is fulfilled here. "Galactic Zoo Dossier" is well produced, well composed, and well performed. It´ll challenge you, it´ll make an emotional impact on you, and on occaion it´ll rock you too. A 3.5 star (70%) rating is deserved.

Still crazy after all these years

Having found instant fame with the ahead-of-its-time single "Fire", Arthur Brown's "crazy world" disintegrated in the late 1960's. Vincent Crane went on to form Atomic Rooster, taking with him Carl Palmer who found a measure of subsequent success with another rock combo.

Brown wandered aimlessly for a while, then burst back onto the rock scene with the formation of his new band Kingdom Come. "Galactic zoo dossier" was the first album by that band. Brown by no means abandons the wildness and demented imagery of his Crazy World, choosing instead to develop it further, with even more off the wall compositions.

Always driven on by strong organ and guitar work, Brown offers the diverse humoresque of Frank Zappa, while thankfully avoiding the excessive jazz indulgences of Mr. Z. Indeed, comparisons with the music of Hawkwind can often be appropriate here. The distinctive crying vocals are still here of course, and are used on tracks such as "Galactic zoo" to create a troubling undercurrent. Brown does in fact have a strong theatrical voice, which when used for more melodic songs ("Space plucks" or "Simple man" for example) demonstrates that he could have had a career as a straight male vocal singer.

Here though, the emphasis is on the wacky, the weird and the downright outrageous. This is not really prog as such. Some of the tracks may be of a reasonable length, but any instrumentation is generally used for overall effect. Exceptions do occur though, such as the fine guitar break on "Sunrise". The occasional use of monophonic synthesiser adds some spacey sounds which at the time would have been very futuristic.

The highlight of the album is the 8 minute "Gypsy escape", where the organ builds to a wonderfully majestic crescendo.

Overall, a highly adventurous album which will appeal to those who wish to find diversity and weirdness while listening to their music. If we strip away all the trimmings, the compositions are not particularly interesting as stand alone pieces, but as a whole, this is an enjoyable experience.

The expanded version of the album includes three additional tracks, but these are simply alternative mixes of tracks on the album.

Hell Fire into Orbit?

I was puzzled by the constant references to The Lord and sinners in the rather meandering intro, and found out that Brown was/is a devout Christian. This would account for some of the themes of his earlier work, as well as for the underlying imagery present in this otherwise outer-space themed album.

Internal Messenger, then, is the first song proper - and a great rocker it is, with powerful riffs and odd wacka-wacka/wibbly noises in the texture, topped with Brown's awesome vocals. When the Hammond kicks in, it's bliss - if a bit muddy; the bass tone is nothing to get excited about - but those Hammond slides are just delicious. After the initial verse/chorus exposition, things get a lot more interesting, with a tritone-drive quasi metal section segueing into a quiet and sinister section that grows back towards the chorus, and a kind of coda, followed by a kind of anti-guitar solo, which nicely avoids predictable pentatonics to begin with (but could do with a tune-up) and gathers pace for a burn-out which never happens. Instead, it's all stripped back, and the music segues neatly into Space Plucks.

Space Plucks is a sensuous groove-based piece with effected vocals, and enough shifts in texture to retain compelling interest - kinda like a groovy Zappa in places, and not at all what you might expect. The remix that follows is actually a new idea that grows out of the existing texture, with distinctly Floydian touches.

Galactic Zoo is almost atonal in feel, giving way to startlingly avante-garde experimentation in texture, melody and rhythm. A mighty scream from Brown drops the listener into a melting pot of complex yet familiar textures, as distinctly atonal motifs are layered and swapped around between the instrumentalists, and just when you think a groove is going to get started, it all gets broken down again.

Metal Monster really gets the groove in a powerful way - this reminds me of a lot of Prog bands I've heard that sounded Prog for Prog's sake - but in this case, it's definitely not! This is a very experimental approach to riffs that hints at later King Crimson, with odd breaks and uncomfortable tape effects. It's not metal, as the title suggests, but it's close, being very heavy and intense.

Maintaining a superb dramatic curve to the album, the music takes a somewhat gentler edge for Simple Man, with Kosmiche/Floyd flavours until Brown takes over the vocal platform in his inimitable style. Half way through, the tempo and textures sharpen and pick up for a moment, and the piece closes out with the gentle groove around which a synth crudely screeches and bleeps.

Suddenly we are dropped into the harsh groove of Night of the Pigs, with sharp, dischordant angles being the order of the day in the guitars, and keyboards notable by their absence.

All too quickly, we're moved on, and the keyboards take over, with a soft diapason sound producing soft music that wouldn't be out of place whilst queueing for communion. Brown's impassioned vocals take the spotlight, and a majestically toned bass rings sonorous and true. Some gospel-style piano joins this, and Brown does a passable imitation of Ian Gillan - this man's vocal chords are seriously impressive. Like Child in Time, this piece builds as it progresses, tingles the spine, and rivets the listener to the spot. Occasionally Brown's Mad Preacher vocals are a little overwhelming - but there's a brilliant change to a jazz-styled groove, and the music itself makes up for any flaws in execution, noodly pentatonic guitar solo apart. Never mind - just you listen to the music in Sunrise - absolutely superb stuff!

Not so sure about Trouble - this little song seems to be mired in trouble from the start, and never really convincingly takes off. Even the lyrics; I would like to write a song and tell the world what's wrong with it today.

Brains is an odd Welsh hymn-like number that leads on to a continuation of Galactic Zoo inna jazz mood. Nice - although really a jazz-styled groove. 30 seconds of this, and it's all torn apart, though, into something a lot more interesting that smashes itself against musical boundaries - literally - never mind gentle giant experimentation or even dull, unadventurous heavy metal, this is violent stuff. It's quite amazing just how much ground is covered within 3 minutes - some bands I could mention would have difficulty in craming this much into 20.

Creep just gets better and better - clearly founded on Brown's Christian beliefs. It forces you cold- bloodedly to turn the volume right up in order to hear the words, and cruelly batters you with sounds from the darker dimensions - things like wasps crossed with the offspring of an octopus and a bicycle swarm across the musical landscape and batter themselves against the inside of your skull, then get chopped up in a manner that would have delighted Stockhausen, as the maelstrom unfolds and harmony is once more restored - what am I talking about? You NEED to hear this piece, progger.

Next we get a 7-minuter! Can it get any more intense?

A plethora of instrumental ideas, sadly topped with mainly pentatonic guitar, wind themselves into the disturbed and distorted opening groove of Creation + Gypsy Escape. Fortunately, the organ and piano are the main driving forces here, and the guitar, when it sticks to rhythm is simply an essential part of the texture. This piece is pure essence of Progressive Rock, not only sounding like it, but developing ideas and coming across like the musicians are making it up as they go along - betraying the close attention to detail in the composition by the tightness of the playing, especially in the giveaway synchronised passages. - and a real treat. The ending is some of the heaviest heavy prog I've ever heard, akin to Atomic Rooster at their best... personally, I'd say better.

After Noise, the album is wrapped up with a 6-minuter that's no slouch in terms of ideas - if rather 1960s inspired and, as a consequence, old-sounding for the first minute and a half or so before the scream! Ultimately, the psychedelic rock/Deep Purple sounds that pervade this piece, make it a bit of a weak exit to what is otherwise an astonishing, challenging and enjoyable album that's very nearly a masterpiece of Prog - noting that Internal Messenger is recalled in this piece, giving an overaching formal feel to the album.

This really is one for the Prog and Metal fans alike - while the overall flavours brought out by the instrumentation and production are of an early 1970s Heavy band that's met an O/D'd Psychedelic band head-on, there are many compositional touches that put this firmly into the realms of Prog.

I really couldn't think of a good reason to not give it 5 stars - even with it being only nearly a masterpiece. It's that close.

The man showed already some DEEP love for the weird and crazy affairs. Being as a solo artist or as being part of a whole.

A deep psychedelia sound is sweating from this work. The combination of disjointed songs and "clever" ones is of course one of the attractions. But to be really impressed by all of these very short tracks is probably something I wouldn't be able to.

The same type of music was already available on "The Crazy World Of Arthur Brown", even if no great hit single made their appearance on this one. I guess that very few people know of this band and their input. To tell that that they are of major importance for prog rock might well be exaggerated.

You only need to judge by yourself. Great stuff as "Sunrise" shows all the power of the man. Vocals are deep, keys are classic, track is ? huge. It is really some kind of a hidden album. I wouldn't say that it is a masterpiece, but frankly as an early seventies album, it deserves quit a good listen from your part.

Not that all songs are great, but "Sunrise" is a definite highlight. Not only because it is one of the longest tracks featured, but simply because it is by far the best piece of music available. Some of the "Galactic Zoo" items are worth but could have been presented as a whole as far as I'm concerned. To have some short parts being spread out has not the most splendid effect.

Some parts are totally "unrealistic" and the type of "press next" argument is quite encouraged. "Creep" is a perfect description of this total chaos. Forget it by all means.

What's left, should you say?

Some heavy ELP stuff ("Creation + Gypsy escape") with all the pomposity of the example and to some extent it holds a great instrumental section which showed enough skills both in terms of playing and song writing. A great song for sure. THE highlight.

If ever some good heavy prog is shivering down your spine, I can only recommend you to listen to this album. Worth three stars in my rating system (seven out of ten really).

The even crazier world of Arthur Brown!

If the Crazy World Of Arthur Brown was crazy, then Arthur Brown's next musical project Kingdom Come was even crazier. Brown's distinctive vocals are still very much to the fore as are his melodic sensibilities and his peculiar taste for the outlandish, but he has left the Psychedelic late 60's behind and entered the progressive and experimental era he helped initiate. Maybe the world just wasn't crazy enough to endorse the weirdly titled Galactic Zoo Dossier the way it endorsed Crazy World and the hit massive Fire? Regardless of the reasons, Brown never again reached the same level of commercial recognition despite continuing to make music to the present day.

Without Carl Palmer and Vincent Crane - who had went on to form ELP and Atomic Rooster respectively - to back him up, Brown assembled a bunch of new musicians to form a new band that was given the name of Arthur Brown's Kingdom Come. Their first effort was the present album which is basically one long piece of more or less interconnected tunes, spoken word passages and weird sound experiments. I often feel that this could have been a great album had it been a bit less fragmentary and more cohesive. There are indeed several excellent moments here and they had good musical ideas. Had these ideas only been better tied together and some passages dropped, the end result would have been all the more satisfying. Still, this is probably one of Arthur Brown's finest moments. But as it stands, it is a bit too "crazy" even for me.

Galactic Zoo Dossier is well worth having and a nice companion to the Crazy World Of Arthur Brown album, but it certainly has its flaws too.

4.5 stars.This is one of those albums that keeps me interested all the way through no matter how many times i've heard it.The first incarnation of Athur Brown's band had broken up and this is the first release of his next project under the KINGDOM COME moniker. So Vincent Crane has left prompting Arthur to purchase a VCS3 synth right away because Crane refused to play one in the earlier band.This is an adventerous album to say the least and that's what I love about it. Experimental, theatrical, spacey, mystical and heavy are all words that apply. When I listen to this record it makes perfect sense that Arthur would play in HAWKWIND later on in their live shows.The same spirit is found in the music of both of these bands. Many of the tracks here blend into one another.

"Internal Messanger" opens with people talking about religion as the music plays in the background. A heavy soundscape then takes over a minute in along with vocals. Some ripping guitar 4 minutes in as Arthur screams. "Space Plucks" has these laid back vocals and sound. It's a spacey mood to be sure. "Galactic Zoo" has these theatrical but almost spoken vocals that come in quickly.They become more passionate along with the music. It settles back. "Metal Monster" sounds amazing to start as we get this fantastic intrumental section.The vocals arrive almost spoken before a minute. It builds.

"Simple Man" calms right down fast as reserved vocals join in. It builds then settles back again 2 minutes in. Crazy synths cry out when the vocals stop but the vocals return later. "Night Of The Pigs" kicks in right away as the vocals are spoken loudly. Some dissonant guitar here too. "Sunrise" is one of my favourites and a top three.The organ floats in followed by fragile vocals. Piano and a beat then join in.This is great ! Guitar and bass join in then floating organ.The guitar sounds incredible after 5 minutes and check out the passion in Arthur's voice after 6 minutes.

"Trouble" is a short tune with strummed guitar, vocals and organ. Beautiful stuff. "Brains" is even shorter with vocals only and funny lyrics. "Medley" is jazzy to start with bass, piano and a beat.Theatrical vocals and spacey synths take over and then it kicks in after 2 minutes.We're rocking now ! A top three track right here. "Creep" has these spoken words with "out there" music. "Creation" becomes eerie and intense. "Gypsy Escape" is the other top three track for me. Just a killer intro here with organ as the guitar joins in. Check out the guitar after 1 1/2 minutes ! Keyboards are great too.Some excellent drums follow. It starts to settle some then it builds after 4 minutes. Organ leads 6 minutes in to the end. "No Time" ends the album. Keyboards kick in with bass,guitar and drums, vocals too. He's yelling the lyrics before 3 minutes.

I would consider this essential along with their "Journey" album that will follow.

A blend of space rock and psychedelia, the first Kingdom Come album sees Arthur Brown's vocals in fine form but lacks the impact of the Crazy World of Arthur Brown's firey debut - possibly because none of the band's instrumental performances match the immediate appeal of the songs on that album, underpinned as they were Vincent Crane's furious organ.

In addition, the whole presentation can be abrasive; it's an album-length song sequence that on initial listens comes across as highly fragmentary, with some tracks including outright glitches (such as that around 25 seconds into Metal Monster). The overall effect is of the audio equivalent of the sort of avant-garde collage which graces the inner gatefold, and some moments can be particularly alarming - like the abrupt transition from Simple Man into Night of the Pigs.

Perhaps the best way to think of it is if Absolutely Free/We're Only In It For the Money-era Frank Zappa and the Mothers of Invention took a left turn into space rock, and then added a far better vocalist than any incarnation of the Mothers ever enjoyed. It's an often fast-paced, baffling work, though when it does slow down there's some absolutely beautiful moments made all the sweeter by the chaos around them - take album centrepiece Sunrise, for instance, which closes the maelstrom of the second side with a moment of genuine sincerity.

I was previously not entirely sold on this album, but now I've come to appreciated its twisted structure the better I think it's a magnificent slice of space rock from the more psychedelic end of the spectrum. Fans of early Hawkwind will find a similar musical approach on show here, making it no surprise that later Hawkwind would occasionally cover Kingdom Come material onstage - sometimes with Arthur Brown guesting on vocals.

One cannot blame Arthur Brown of being a coward. Between 1967-1973 he made a musical journey few would dare to make. The lovely little song 'Give him a flower' led to the album 'The crazy world of Arthur Brown' which showcased a strong bluesy, proto-prog direction and spawned the hit single 'Fire'. Now, most people would have continued down that path, enjoyed the money and fame but not Arthur Brown. He instead ventured into the studio and recorded 'Strangelands' in 1969. That album wasn't released for many a year later but that was truly a bold step, making an albums worth of free form progressive rock that defies description. For his next album he settled down somewhere in between 'The crazy world of Arthur Brown' and 'Strangelands'. The result was the magnificent 'Galactic zoo dossier'. Arthur Brown and his Kingdom Come always maintained a sound of their very own, not only by way of Brown's amazing vocal capabilities but also in the way they sound together. The three albums Kingdom Come made in the early years of the 70's differ from each other but holds the unique flame burning. The mix of folk, hard rock and utter madness makes for a very intriguing and fascinating experience. This is music made in a mental institution where Arthur Browns holds court and spews his gloriuos dementia around him, whilst occasionally surfacing to sanity. It is bloody marvellous, I tell you.

The album is based around some sort of concept where the human race is trapped inside a galactic zoo. Or something. Regardless of the concept and whether you grasp it or not, you truly feel that the musical content is conceptually based. It's like watching a fantasy movie where strange beings and humanoid entities swarm around as if it is all business as usual. Brilliant. The opening rambling about the Lord that leads into 'Internal messenger' is a typical example of the sense of humour that leads a vibrant existence on this album and certainly the next one, which is equally good. While 'Internal messenger'. 'Sunrise' and 'Simple man' are songs of normal, early progressive structure, songs like 'Night of the pigs' and 'Creep' ventures into the wastelands of the previous, shelved album 'Strangelands'.

I don't mind the occasional freakout, as on 'Creep', but I want it to be just that, occasional. 'Strangelands' is really too much freak for me but when mixed in with 'normal', if that at all is an apt description of Brown's musical legacy, it makes perfect sense and makes it all very enjoyable. This album, as with the following, is just that, the perfect mix of crazy freakouts in the canteen at the asylum and scary normality of someone who acknowledges no bounds or barriers. Brown and his cronies created a truly wilfully wayward collection of songs that at first might appear as a great conundrum but if one listens and puts in an effort it is simply adorable and truly rewarding. I wouldn't say that it is impenetrable but 'Galactic zoo dossier', though it might seem that way, really is not. It is simply a wonderful album and holds everything I adore in early incarnations of progressive rock. There is a sense of humour, the warm and destructive organ and that wonderfully crude soundscape that is so endearing. A truly brilliant piece of music that really have stood the test of time. It is one of my favorite albums and I suppose I would take it with me if I was sent on an everlasting journey into space, never ever returning to Earth. It would surely make my life a lot easier, when heading straight for Uranus. Or whatever.