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░ ██ ██ Artist: VA ██ ██
▓ █░░ ■█ Album: Daze of the Underground: A Tribute to █■ ░░█
■ █▓▀ █ Year: 2003 █ ▀▓█ ░
█ ▓ Rel. Date: 2008-03-01 ▓ █
▒ ▒ Genre: Rock ▒ ▒
█▄ ░ Label: Godreah Records ░ ▄█
░ █▄ ░ Source: CD ░ ▄█
▀░ ░ Type: Compilation ░ ░▀
░ █▓ Encoder: LAME v3.97 -V2 --vbr-new ▓█ ░
▓ █ Quality: VBR, 44.1kHz, Joint Stereo █ ░ ▓
▄ ■ ■ ▓ ■
░█ █░ ▀
█ The question that always comes to mind with █
█ tribute albums - what was the motivation of each █
█ of the artists who appear on the album? I suppose █
█ it is a given that they are in some way "fans" of █
█ the act to whom tribute is being paid, but there's █
█ more to it than that. Do they pick a particular █
█ song because they feel the definitive version is █
█ still out there waiting to be nailed down? █
█ Because some completely different interpretation █
█ is possible? Out of affection for the original █
█ band? Or do they do it only because they can? █
█ This latter is important with a Hawkwind tribute █
█ album, as the music is, let's face it, not █
█ complex: most musicians would find your average █
█ Hawkwind cover version well within their █
█ capabilities. Whether it's done with any empathy █
█ or just bludgeoned out garage-band style is a real █
█ pointer to this scenario. On the 1995 Assassins █
█ of Silence / Hundred Watt Violence tribute album █
█ (which I've reviewed here on this site) there were █
█ definitely a couple of bands who I suspect █
█ undertook the task because here was something just █
█ about within their limited capabilities. It █
█ doesn't necessarily make for a bad cover version, █
█ taken within the context of an album as a whole, █
█ but as individual tracks some of these can be █
█ decidedly ropey. █
█ Daze of the Underground differs from earlier █
█ tributes by dint of having some name Space Rock █
█ acts on it, including people who are current or █
█ ex-members of Hawkwind. So the initial reaction █
█ is that this is a higher-budget exercise than █
█ Assassins of Silence / Hundred Watt Violence, for █
█ example. But what it does have in common with the █
█ first tribute is that the acts on Daze Of The █
█ Underground are Space Rockers and not rave / █
█ trance / techno artists out to retrospectively █
█ claim a rock basis for their sub-genre...I'm █
█ thinking here of the 1996 Rituals of the Solstice █
█ tribute - but then, I'm prejudiced against dance █
█ acts, anyway. Godreah Records released this █
█ album, and while they lean in the direction of █
█ various forms of Death Metal (and so are unlikely █
█ to have brought in any techno acts!) they've done █
█ a good job of securing the services of a wide █
█ variety of artists to appear. █
█ The booklet that comes with this CD is quite █
█ lavish. The front and back cover of it are in █
█ colour (see scanned copies above) and inside, █
█ there are 18 monochrome pages, the first four of █
█ which are devoted to Hawkwind themselves (a █
█ three-page history and a mid-80's photo on the 4th █
█ page). Each of the artists appearing on the album █
█ then gets a photo, a note as to their geographical █
█ origin, a brief description of their contribution █
█ (no I didn't consult these in putting this review █
█ together) and a listing of the Dramatis Personae █
█ (line-up of the band in question). Of the 27 █
█ bands on this CD, twelve are billed as being from █
█ England, six from the USA, two from each of █
█ Finland, Japan and Australia, one from Italy and █
█ one from Sweden. Tim Blake is from "Europe". █
█ The notes also point out that a number of tracks █
█ included on this CD have actually been knocking █
█ around for some time - quite a few were recorded █
█ in 1997-99 - and one or two are live. The █
█ uniformly decent sound quality leads me to think █
█ that some post-production work has been done by █
█ Godreah Records (not that it's mentioned in the █
█ notes) - the patchiness that you would expect just █
█ isn't there....the overall impression that I get █
█ is that this is a relatively well-funded █
█ undertaking: if any of these numbers were laid █
█ down on a four-track in someone's bedroom, I'd be █
█ very surprised. █
█ The first pleasant surprise is Tim Blake's █
█ rendition of Spirit of the Age. Only after █
█ hearing it did I realise I was expecting it to be █
█ weak - it has sometimes been a bit thin when Tim █
█ has performed this live with Hawkwind. Here he █
█ achieves the feat of bringing the song into the █
█ 21st century but without distancing it too far █
█ from its' classic Hawkwind roots. The █
█ instrumentation stops short of being "lush", █
█ having just enough minimalism to give it a modern █
█ edge. The crisp drums are close enough to a live █
█ sound to nicely counteract the keyboard dominated █
█ vibe. Nice one Timmy... █
█ Litmus follow with Paradox. And this illustrates █
█ something else about tribute albums - Litmus don't █
█ fall into the trap of showing excessive respect █
█ for the original. Any time you hear a cover █
█ version where the timing and phrasing have not █
█ slavishly followed the original, it usually speaks █
█ of innovation. They start off fairly faithfully █
█ with a swooping bassline, delayed onset of the █
█ percussion and some very Brocklike vocals, but █
█ when the song goes into the blanga refrain █
█ section, Litmus stretch out a bit by subtly █
█ altering the vibe. As the track progresses, this █
█ tendency becomes more marked. Again, there is a █
█ good balance between striking some familiar notes █
█ (the keyboard voices are very authentic) and █
█ innovating something new (check out the guitar █
█ solo). █
█ The version of Levitation that Amorphis offer █
█ takes the percussive, syncopated opening of the █
█ original studio version of the song and uses this █
█ to characterise the entire track. It's a guitar █
█ dominated enjoyable thrash which loses its' █
█ distinctiveness in a relatively lacklustre middle █
█ section - perhaps they fall into the trap of █
█ paying too much respect, since you can also hear █
█ puffs of breath in one place, exactly like the █
█ live version on HawkwindÆs Do Not Panic album... █
█ Spacehead tackle 'The Right Stuff', and for the █
█ first time ever I really understand what Mr.Dibs █
█ is doing on the bass. This is the perfect number █
█ for his upfront, pumping style. Calvertesque █
█ vocals hark back to the original version on █
█ Captain Lockheed & the Starfighters, with Messrs. █
█ Needham and Barton supplying some good-to-middling █
█ guitar soloing over the riff without deflecting █
█ the driving power that Spacehead succeed in █
█ delivering.. Going back to Mr.Dibs, though, I see █
█ him now as looking to cover the same sort of █
█ territory as Alan Davey did on "Images" from the █
█ Space Bandits album; the bass playing █
█ uncomplicated riffs but taking the spotlight by █
█ dint of playing right on or even slightly ahead of █
█ the beat, and being high in the mix. This number █
█ ends nicely with a bit of guitar wig out which is █
█ not allowed to outstay its' welcome. A very █
█ creditable effort. █
█ Arrival In Utopia from Meads of Asphodel is next █
█ up. I was expecting an unintelligible thrash, and █
█ it isn't anything of the kind.. The guitar is █
█ very close to the original Brock and Langton █
█ parts, and this would be a terrific success were █
█ it not for the abysmal vocals, which are an █
█ attempt at a death metal snarl, but merely sound █
█ oafish. The Meads turn in a brand new midsection █
█ which enhances the song and shows off some █
█ sympathetic guitar soloing... The notes in the CD █
█ booklet confirm that Alan Davey played bass on █
█ this track and Huw Lloyd Langton supplied (some of █
█ the) guitar, so that explains the authenticity, █
█ perhaps. █
█ It's only when you hear Song Of The Swords, as █
█ murdered by the next band (The Enchanted) that you █
█ realise quite how good Meads of Asphodel were. █
█ This is a 1980's style thrash with divebombing █
█ lead guitar and sub-Slipknot vocals. The █
█ Enchanted fall into the category of doing it █
█ because they can just about manage it, for my █
█ money.... █
█ Bedouin chase this drag-on with Sword Of The East, █
█ which Alan Davey of course penned himself, so it █
█ almost isn't a cover version. For me, the problem █
█ with this is that Glenn Povey is a quintessential █
█ Strat player, more suited to the Fast Eddie Clarke █
█ school of heavy rock than the Dave Brock - which █
█ is almost an unfair criticism, as if Bedouin were █
█ only an originals version of Ace Of Spades. █
█ Glenn's rendition of the guitar solos does beat █
█ HLL's into a cocked hat, though. He's a real █
█ *rock* player who bends the strings as far as █
█ they'll go. Alan Davey and Danny Thompson are █
█ familiar enough to Hawkwind fans to really require █
█ nothing further to be said about them in █
█ particular. This live track is typical Bedouin, █
█ balls to the wall and taking no prisoners. █
█ Silver Machine the band take on Silver Machine the █
█ song, and they pull a very smart move here by █
█ going for the feel of the original single version █
█ of the song. It is if anything slightly slower █
█ than the original, with the guitar riffing around █
█ the basic chords, and synth effects not too █
█ dissimilar from the VCS3 and audio generator that █
█ adorned HawkwindÆs one and only proper hit. Which █
█ was itself a live recording, and this sounds █
█ positively lush by dint of having been laid down █
█ in a studio rather than a former engine shed! █
█ I've never heard of The Murkins before, and I █
█ wonder if I will again. They perhaps don't █
█ deserve the obscurity that is probably beckoning, █
█ here turning in a cover of Psi Power which is too █
█ faithful to the original album version on █
█ Hawklords / 25 Years On. The synth solo █
█ originally laid down by Steve Swindells in the █
█ middle section is faithfully replicated on guitar █
█ and then we get the quiet verse, same as on the █
█ original... The single note guitar motif at the █
█ end of each chorus is here, note-for-note, and the █
█ multitracked breathy vocals pay homage to what was █
█ on the original too. It's only with the coda, █
█ where we hear a guitar solo that there is any █
█ departure. The spoken █
█ 'Square...Triangle...Circle" outro is there too, █
█ but is at least compressed down from the █
█ Hawklords' version. █
█ Now, imagine the Kinks performing Quark █
█ Strangeness and Charm, and you have an idea of how █
█ Quarkspace tackle it. Jangling acoustic guitars, █
█ a bright barroom piano and a taut, nasally snare █
█ drum propel this along at a pace faster than the █
█ original. There is a guitar solo which wanders █
█ away from this template midsong, but still manages █
█ to fit with the overall vibe for the most part. █
█ The vocal interjections are very reminiscent of █
█ Bob Calvert. Well, this works. I like it! █
█ Overmars offer us "Magnu" which is going to be █
█ tough to do as it's one of Dave Brock's finest █
█ moments. That riff is there, all right, but it's █
█ maybe just a little too staccato, giving this █
█ number the feeling of having unintended holes in █
█ every bar - which the vocalist tries to cover by █
█ smoothing out his delivery rather than phrasing █
█ his lines within the guitar riffs. Overmars lift █
█ their game in the middle section though, which is █
█ great to hear as Hawkwind themselves never played █
█ it with any conviction after the original studio █
█ version on Warrior On The Edge of Time. The coda █
█ of the original is where Hawkwind really shine as █
█ a band, and I was waiting to see what Overmars █
█ would do with it - the answer is "not very much", █
█ though it's perfectly adequate by almost any other █
█ standards. █
█ Alpha Omega induce a bout of Reefer Madness which █
█ has some of the same problems as the preceding █
█ Overmars track. Brock is a mighty impressive █
█ rhythm guitarist, but his choppy style needs a █
█ very fluid band behind it...I like the chorus █
█ effect that appears on the guitar in the second █
█ verse, but then we get the spoken interlude █
█ ("stole my stash") which I think just doesn't work █
█ at all - this bit would have been better intoned █
█ over a continuing groove. Alpha Omega segue this █
█ straight into a freeform jam, which again I think █
█ misses the mark. A wah guitar solo doesn't really █
█ rescue them from this - c'mon lads, I want you to █
█ do well (Reefer Madness is a very underrated █
█ track) and you're floundering here - a final █
█ chorus brings us back onto the mark, and it's a █
█ pity Alpha Omega don't stretch it out a bit █
█ farther from that.. █
█ Texan space rockers ST37 are alleged to have a █
█ more amphetamine-like vibe rather than the LSD █
█ overtones of most practitioners within this genre. █
█ They show it off with Orgone Accumulator, which █
█ probably strives to pay homage to the classic █
█ version on Space Ritual - but it ends up reminding █
█ me more of the "Undisclosed Files Addendum" █
█ version from 1984, with Nik Turner on vocals. █
█ What is nice about this is the cloud of synth and █
█ audio generator-like tones surrounding the █
█ drums-guitar-bass blanga...but I feel this would █
█ have had slightly more power if it had been slowed █
█ down a trifle. █
█ History of Guns are another new name and they too █
█ cover Magnu. To give credit, this makes no █
█ attempt to be faithful to the original, with a █
█ totally different arrangement. Dense, opaque █
█ keyboards lay down a carpet of fuzz in the █
█ background with a punkish vocal sounding isolated █
█ from all the other instruments. There is a nice █
█ drumloop at the beginning of the middle section, █
█ but then it all falls apart as we wander █
█ perilously close to techno territory with wailing █
█ lead guitar clashing horribly with the percussive █
█ beats. This is awful. It ends abruptly right █
█ after the middle section, and not a moment too █
█ soon IMHO. █
█ CD2 gets under way with a band called Brainstorm █
█ covering Master Of The Universe. This is █
█ immediately gripping, with the beautifully sparse █
█ qualities of the ISOS original studio version █
█ coming across despite the very different █
█ arrangement, mellotron-like keyboard and flute to █
█ the fore. The vocals start disastrously with the █
█ singer sounding as though he has his chin pressed █
█ down on his Adam's apple, but they come right █
█ within a line or two. And then the band pick the █
█ pace up, distorted guitars kicking in, with a █
█ sitar-ish sounding solo (which is actually played █
█ on the guitar) disinterring a previously unknown █
█ eastern vibe. There are a couple of instrumental █
█ passages like this before the vocals come back in, █
█ and do the same thing all over again - for gawd's █
█ sake, man, SING, don't yodel! But as before, the █
█ strangled quality of the vocals eases, and itÆs █
█ all brought to a very satisfying conclusion. █
█ Another great sounding opening heralds Sigh's █
█ version of Psychedelic Warlords. A fluid █
█ funk-driven guitar rides over layers of █
█ atmospheric synth. Unfortunately the vocals on █
█ the verses let the side down terribly, sounding █
█ like a lame white boy version of Sly and the █
█ Family Stone. On the chorus, the vocals are █
█ vocoder'd which helps, but you keep thinking █
█ "where's the beef?" A soulful guitar solo in the █
█ middle passage is really very skillfully done, and █
█ provides one of the best bits of musicianship on █
█ the album so far, but by this time Sigh have lost █
█ their way. This track is sinking into a morass of █
█ muzak-tinged disco, and I am really very sorry to █
█ have to say this, because I think they had a great █
█ idea in trying to bring out the funk qualities of █
█ Psychedelic Warlords - but it needs to be sweaty, █
█ 70's driving funk, not George Benson inspired █
█ niceties like this. Sorry. █
█ Farflung are another famous name (well, in space █
█ rock circles - obscure as hell to the world at █
█ large!) and Robot is their brief. It's very █
█ competently done, no misjudgments here, and not █
█ too much inspiration either. This could be a live █
█ tape of Hawkwind themselves doing this song in █
█ 1978 or so. There is some lead guitar yowling █
█ away in the middle of the mix that sounds exactly █
█ like one of the keyboard parts in of the live █
█ versions already out there. Vocals very similar █
█ to the original, familiar arrangement...and when █
█ you recall that all Hawkwind versions of this are █
█ live, it seems like a missed opportunity not to █
█ have seen what could be done with this song in the █
█ studio. █
█ Spirits Burning, who I think are some sort of Bay █
█ Area collective, do a bit better than Farflung █
█ with their version of High Rise. The vocals are █
█ again a little too derivative of Calvert's █
█ trademarks, but the keyboard-dominated arrangement █
█ does a great job of emphasising the minor chords █
█ in the chord progression, really bringing out the █
█ mournful qualities of this number, There are █
█ also, for perhaps the first time on this CD, some █
█ trademarked Dave Brock synth patterns which do not █
█ merely echo what was on the original, but convey █
█ the Hawkwind feel by providing familiar sounds in █
█ new settings. A great demented guitar solo wisely █
█ avoids trying to emulate BrockÆs superbly █
█ plaintive version on the original - this one █
█ swoops all over the place without trying to stuff █
█ too many notes into too short a time. This is a █
█ great track. Special mention goes to the █
█ violinist! █
█ Moonglum is such an awesome track, probably the █
█ crowning achievement of Huw Lloyd Langton's █
█ career. But that was the version on Live █
█ Chronicles, and what he does with it here is █
█ frankly poor, or so I thought at first. But as █
█ the track progresses, you get used to the idea of █
█ Moonglum as a guitar player's track, not a █
█ storming rock classic... And it works on this █
█ level. This would do well if put on the CD's █
█ included with magazines like Guitarist...Huw's █
█ playing is understated, elegant, even. On the █
█ other hand, most of the lead guitar doesn't seem █
█ to have enough sustain on it and could do with █
█ being higher in the mix, but yes, I could get used █
█ to this. █
█ Hurry On Sundown was a standout track on the █
█ Assassins of Silence / Hundred Watt Violence █
█ tribute album, where it was given a Byrds-y █
█ flavour by The Petals. Here, Marshan approach it █
█ from a subtly different angle, with a folky feel █
█ and what I first took to be mixed male / female █
█ vocals reminding me of the Mamas and Papas - the █
█ band have since emailed me to say there are no █
█ female vocals, the effect was attained with the █
█ use of surgical clamps :-) The harmonica solo is █
█ beautifully done and fits superbly with the █
█ overall vibe - like the best tracks on this CD, it █
█ pays its' respects to the original but has enough █
█ innovation about it to steer clear of being █
█ derivative. █
█ Circle's treatment of Don't Understand is so █
█ innovative that I had no idea what it was and had █
█ to look down at the CD booklet to find out. █
█ Repetitive rhythms played by humans, not machines, █
█ and Circle's trademark atonality and wordless █
█ vocals just below the threshold of audibility are █
█ here. I can't really see this as anything other █
█ than a piece of original music by Circle, and █
█ while it is head and shoulders above many of the █
█ other cuts here, does it really belong on a CD █
█ with such relatively low ambitions as a Hawkwind █
█ tribute? █
█ DarXtar opt for a recreation of the acoustic █
█ "Watcher" which first appeared on the Doremi Fasol █
█ Latido album. Doubled vocals, too, with just a █
█ drone guitar in the background to do much in the █
█ way of differentiation. While Hawkwind are █
█ currently playing a muscular rendition of this in █
█ their live set, to be honest I thought Motorhead █
█ had really nailed it on their first album with █
█ their all-out rock version. But this one is a █
█ very credible performance of the song as it was █
█ first envisaged, and probably one done out of █
█ affection rather than anything else. It ends with █
█ snoring too, or was that me I wonder. █
█ Another Lemmy number, Motorhead, gets the █
█ treatment next, this time from Acid King. Slowed █
█ down to a crawl with fuzzed out droning rhythm █
█ guitar which sits oddly with the █
█ clearly-articulated high-pitched vocals. Full █
█ marks for originality - this sounds like a █
█ different song altogether, and kind of works in a █
█ twisted way. Like the Circle track, it's better █
█ if you think of it as an original piece - it █
█ doesn't really work at all as part of a Hawkwind █
█ tribute album. █
█ Beggars Farm take on We Took The Wrong Step Years █
█ Ago, and while I'd like to say the results beggar █
█ belief, this isn't the case. They take the song █
█ and strip the psychedelic mushiness away from it, █
█ back to its' folk roots, and then add an █
█ Eastern-sounding sitar or summat. The vocals are █
█ a bit weak, and I get the feeling that this number █
█ is pitched just a little too low for this singer - █
█ transposing the whole thing upwards by a step or █
█ two would probably have fixed this. █
█ Another big name enters the fray, with Sloterdijk █
█ taking us into the Golden Void. This starts out █
█ as a sludgy dirge, quite unlike what I'd expected █
█ after seeing main man Mike Burro perform a skiffle █
█ set as part of the One-Eyed Bishops. I don't know █
█ what he is thinking here - true, this is nothing █
█ like any other version of this song that you've █
█ ever heard, and we are giving points for █
█ originality...but... A decent guitar solo starts █
█ at about 4:15 and I was hoping this would be the █
█ springboard for the song to take on some kind of █
█ life at a higher biological level than the █
█ amoebic, but without the vocals, things get worse █
█ rather than better. The song disintegrates into a █
█ random selection of strange noises before █
█ mercifully coming to an end after about 6 minutes. █
█ Harvey Bainbridge provides a track called "Acid █
█ House of Dreams", which is actually the vocal █
█ samples from "Dreamworker" on Choose Your Masques, █
█ grafted onto a revisitation of the Acid Test track █
█ from the Palace Springs album. I'm not █
█ particularly a fan of Harvey's dystopial █
█ soundscapes, and this one is a more █
█ modern-sounding remake of past glories. If you █
█ like HarveyÆs solo stuff, this is a particularly █
█ well executed example. █
█ Acid Mothers Temple, who are reputedly completely █
█ mad in musical terms, bring things to a close with █
█ You Know You're Only Dreaming. The original wah'd █
█ guitar chord progression is still there, shrouded █
█ in layers of synth, sound effects, and general █
█ weirdness, each element of which can be picked out █
█ and identified as having a genuine Hawkwind █
█ pedigree. Until, that is, you hear the guitar █
█ solo which is playing either no tune at all or a █
█ hundred different ones. With the drums falling █
█ around all over the place, it's like hearing one █
█ of those chaotic Hendrix jams at the end of a █
█ song, heralding imminent disintegration. Some █
█ early Pink Floyd Mad Scientist type vibes are █
█ thrown in there too, although the drums then pick █
█ up and restore some rhythm to this insane soup. I █
█ dare say only the Japanese could come up with █
█ something like this....some graffiti in San █
█ Francisco that I saw once started off with █
█ "Remember Pearl Harbour", to which a second hand █
█ had appended "Remember Hiroshima". Succeeding █
█ entries were "Remember Toyota" and then █
█ "...Sushi". I think Acid Mother's Temple could be █
█ added to that list - but what an entertaining █
█ racket they make! It's got nothing at all to do █
█ with Hawkwind in my opinion, but it's been a long █
█ two-and-a-half hours... █
█ Overall then, a damn good album, and I have █
█ written this entirely at the first hearing - █
█ believing initial impressions to be best when one █
█ is familiar with the material, as is the case █
█ here. Tempting as it is to draw further █
█ comparisons with the Assassins Of Silence / █
█ Hundred Watt Violence tribute album, I don't think █
█ this is the same kind of thing at all. The █
█ earlier album sought to present a nascent scene █
█ (American space rock bands of the mid-90's) and █
█ this album, I think, is much closer to being what █
█ it says: a tribute CD. I said at the beginning of █
█ this review that there are several potential █
█ motivations for bands to be involved in this kind █
█ of exercise, and in most cases this seems to be █
█ driven by wanting to acknowledge a debt to █
█ Hawkwind and their music. I can't say that any of █
█ the bands here have risen to the heights of █
█ producing the definitive version of any of the █
█ numbers on the CD, but any Hawkwind fan will enjoy █
█ this, and it's a very good deal, two and a half █
█ hours for the (full) price of a single CD album. █
█ A special thanks to the person or persons who put █
█ the sleeve notes together, and included █
█ starfarer.net in the list of Hawkwind websites. █
█ Thanks too to CDS Services for getting my copy to █
█ me as soon as release problems were overcome - and █
█ now that youÆve read this, you might want to read █
█ another opinion of this same album, over at Review █
█ Of A Review, right here on my site, and brought to █
█ you by the fantastically kind indulgence of Andy █
█ G. :-) Read it and you'll see what I mean! █
▓ ▓
▒ ▒
░ CD 1/2 : ░
░ 1. Tim Blake - Spirit of the Age 6:53 ░
░ 2. Litmus - Paradox 6:49 ░
░ 3. Amorphis - Levitation 5:53 ░
░ 4. Spacehead - The Right Stuff 5:47 ░
░ 5. The Meads of Asphodel - Utopia 4:20 ░
░ 6. The Enchanted - Song of the Sword 2:39 ░
░ 7. Bedouin - Sword of the East 5:37 ░
░ 8. Silver Machine - Silver Machine 5:18 ░
░ 9. Murkins - Psi Power 5:16 ░
░ 10. Quarkspace - Quark Strangers and Charm 4:19 ░
░ 11. OverMars - Magnu 4:46 ░
░ 12. Alpha Omega - Reefer Madness 5:57 ░
░ 13. ST37 - Orgone Accumulator 6:09 ░
░ 14. History of Guns - Angels/Magnu 2:31 ░
░ CD 2/2 : ░
░ 1. Brainstorm - Masters of the Universe 5:05 ░
░ 2. Sigh - Psychedelic Warlords 5:39 ░
░ 3. Farflung - Robot 5:24 ░
░ 4. Spirits Burning - High Rise 5:56 ░
░ 5. Huw Lloyd Langton Band - Moonglum 5:31 ░
░ 6. Marshan - Hurry on Sundown 4:11 ░
░ 7. Circle - DonÆt Understand 5:09 ░
░ 8. Darxtar - The Watcher 5:42 ░
░ 9. Acid King - Motorhead 5:22 ░
░ 10. Beggars Farm - We Took the Wrong Step 3:40 ░
░ Years Ago ░
░ 11. Sloterdijk - Golden Void 7:29 ░
░ 12. Harvey Bainbridge - Acid House of Dreams 5:52 ░
░ 13. Acid Mothers Temple - You Know Your Only 7:42 ░
░ Dreaming ░
░ 144:56 ░
░ ▒ ▒
▓ █ ░ ▓ ░
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