In-A-Gadda-Da-Vida

Better than Coldplay

Ugh. Although I appreciate the opportunity to hear the title track in all its epic glory (and I guess poor Jeff Beck got treated to a jam version twice as long as the album version in some random Iron Butterfly concert in 1967), I'm not really sure I absolutely needed to hear the rest of this album before I die. But so it goes, and to be fair the first half of the album is pretty innocuous and curiously bleak for psychedelic rock. I also enjoyed learning that the title track is actually titled "In the garden of Eden", but when lead man Doug Ingle played and sang the core of the song to a bandmate, he was so drunk on Red Mountain wine (whatever that is--sounds lethal) that all his transcriber could make out was the phonetic words of the title track. Far out, dude....

Classic, rock, etc.

The peculiar thing about In-A-Gadda-Da-Vida is that Iron Butterfly are demonstrably better musicians than they are songwriters. Indeed, there’s a rather good band struggling to escape from some desperately ordinary material. Over the course of the album, that band gradually emerges, and by the time we reach the seventeen-minute title track, it’s possible to understand why they’re historically significant. Whether that makes the album essential listening is quite another matter. My expectations were shaped, inevitably, by the title track’s reputation and by its magnificent appearance in The Simpsons, where Bart passes it off as a hymn called “In the Garden of Eden” by I. Ron Butterfly. Reverend Lovejoy’s congregation dutifully attempts to sing along before the church organist finally collapses over her instrument. I was expecting something heavy, excessive and possibly rather ridiculous. What I wasn’t expecting was an opening pair of songs that sounded like psychedelic bubblegum. “Most Anything You Want” is remarkably lightweight pop, dressed up in the musical vocabulary of 1968. The organ immediately suggests Ray Manzarek, and there are quite specific melodic similarities to “Light My Fire” in its figures. There’s an interesting relationship between Doug Ingle’s organ and Erik Brann’s guitar, whose contrasting tones complement one another beautifully. Brann was only seventeen when the album was recorded, and already demonstrates an admirable quality that plenty of considerably older guitarists have never acquired: he knows when not to play. Unfortunately, the song itself is terribly slight. My initial comparison was with The Monkees, but that did them a disservice. The Monkees were capable of considerably more sophisticated music, and a group responsible for Head deserves rather better treatment. The Archies would be a more appropriate comparison. This is psych-coloured bubblegum, an arrangement considerably more interesting than the composition it supports. “Flowers and Beads” compounds the problem. It occupies a peculiar musical intersection between Brian Wilson’s sunshine pop and the decorative prettiness of “Penny Lane”, but without the melodic or harmonic sophistication that made either so rewarding. The lyric amounts to little more than an earnest declaration that the singer loves somebody and would do anything for them. There is nothing particularly wrong with writing simple love songs, but simplicity isn’t automatically a virtue. Brian Wilson could take almost embarrassingly straightforward sentiments and surround them with music that introduced emotional ambiguity, longing or unexpected beauty. Here, the words and music seem equally content to take the most obvious available route. This reminded me of an argument I’d developed while listening to Green Day’s Dookie: that American popular culture can be exceptionally good at identifying the characteristics of something, codifying them and turning them into a reproducible form. It’s a generalisation, certainly, and hardly a uniquely American phenomenon, but there’s something about these opening tracks that sounds almost procedural. Take the recognisable ingredients of contemporary psychedelic pop, arrange them competently and produce the expected result. Everything is present except much evidence of the imaginative impulse that made the original ingredients interesting. Fortunately, “My Mirage” offers the first indication that there might be more going on. The composition is more adventurous, and although the lyric remains slight, its imagery is at least more interesting than the declarations of undying devotion preceding it. The guitar and organ interplay is once again particularly effective. Curiously, the two instruments appear to have exchanged positions in the stereo image. Having established an imaginary location for each musician during the opening tracks, I suddenly found myself listening to them from the opposite direction. It was almost as though I’d walked around the band and approached them from behind. A strange little spatial experience, and an indication of how effectively their contrasting instrumental sounds had established themselves. “Termination” is a more substantial improvement. Significantly, it’s the only song credited to Brann and bassist Lee Dorman rather than Ingle, with Brann also taking the lead vocal. It’s genuinely psychedelic, with some excellent overdubbed guitar work, convincing instrumental interplay and an unexpectedly delicate coda. That ending is especially pleasing. In a relatively short composition, the band find room to move somewhere quieter and more considered rather than simply repeating the song until it stops. For the first time, the musical imagination seems to extend into the composition itself. By “Are You Happy”, another change is becoming apparent. The band are growing more confident in their heavier musical identity. The extended instrumental passages have an assurance and exploratory quality that make them considerably more compelling than the songs containing them. Guitar, organ, bass and drums interact with increasing confidence, and the musicians sound comfortable allowing an idea to develop beyond the requirements of a conventional pop arrangement. Unfortunately, the lyrics appear to have been written with crayons. This is the central contradiction of the record. Iron Butterfly can sound like an accomplished, increasingly ambitious psychedelic rock group while singing words that would barely trouble a reasonably imaginative child. There’s a startling gap between the sophistication of their instrumental performances and the simplicity of their verbal expression. The musicians seem to be developing an interesting new language, but nobody has given them anything interesting to say. And then comes the title track. The opening riff immediately makes the band’s historical significance clearer. It’s enormous, repetitive and rhythmically insistent, with a heaviness that anticipates some of Black Sabbath’s subsequent vocabulary. But on reflection, Deep Purple provide the more convincing comparison. It’s the relationship between organ and electric guitar, especially the way they combine to create a powerful ensemble sound, that points towards the territory Jon Lord and Ritchie Blackmore would later explore so effectively. Indeed, Iron Butterfly and Deep Purple were developing their early recorded identities at almost exactly the same moment in 1968. There is, however, another ancestry worth considering. The further the title track progresses, the more its extended instrumental exploration recalls Jefferson Airplane and early Pink Floyd. The Airplane’s After Bathing at Baxter’s had already demonstrated how psychedelic rock could expand beyond conventional song structures into prolonged instrumental encounters, and there are passages here that suggest the same freedom. The improvisational relationship between the instruments, particularly during the organ-led sections, also recalls “Astronomy Domine”, with its strange mixture of rhythmic insistence and sounds apparently arriving from different parts of the musical landscape. Ron Bushy’s lengthy drum solo is interesting in this respect. It isn’t particularly impressive as a display of virtuosity, but that doesn’t appear to be its purpose. The emphasis is on repetition, pulse and gradual variation. It’s almost trance-inducing, encouraging the listener to inhabit the rhythm rather than marvel at the drummer’s technical accomplishments. In that respect, it serves the psychedelic ambitions of the piece rather better than the elaborate displays of instrumental prowess that would become almost compulsory in some subsequent rock music. The organ passage that follows is particularly fascinating. Ingle develops his melodic ideas while Brann contributes little interjections and strange guitar sounds, sometimes answering the organ and sometimes apparently pursuing an entirely independent line of thought. I even heard what sounded like melodic quotations from “God Rest Ye Merry, Gentlemen”, which seemed wonderfully appropriate given the album’s association with Reverend Lovejoy. There are moments when the instruments appear less concerned with a conventional arrangement than with discovering how their individual sounds might coexist. These are genuinely rewarding musical passages. They reveal a group prepared to explore texture, space, rhythm and repetition without constantly referring back to the conventions of pop songwriting. The performance also makes considerably more sense of the confidence that began emerging towards the end of side one. Iron Butterfly are much more persuasive when allowed to play than when obliged to deliver tightly constructed songs. But there remains a problem. For all its exploratory ambition, the title track is built around remarkably slight material. Doug Ingle is hardly Shakespeare, and the central composition doesn’t offer enough melodic or harmonic substance to justify seventeen minutes purely on its own merits. Much of what makes the performance interesting is what happens around the song rather than within it. The musicians discover things, establish atmospheres and occasionally produce fascinating interactions, but I’m not entirely convinced that the piece develops as much as it expands. That distinction matters. Sustaining an atmosphere is an accomplishment, particularly when that atmosphere is as distinctive as this one. But it isn’t necessarily the same as developing a convincing extended composition. Some of the music here is genuinely exploratory; some of it simply continues. I admire the band’s confidence more than I admire the finished result. Which brings me to the question of why this album occupies a place in the 1001 Albums You Must Hear Before You Die canon. Its historical importance is reasonably clear. This is a recording situated at a particularly interesting junction in the development of rock music, where psychedelia, extended improvisation and heavier riff-driven performance were beginning to produce something recognisable as hard rock. It contains elements that would subsequently become central to several enormously influential musical traditions. As a document of that process, it has considerable value. But historical importance and artistic necessity aren’t interchangeable. The question becomes especially pointed when considering the revisions to the 1001 canon. Jane Weaver’s Modern Kosmology, a psychedelic record of considerable imagination and sophistication, has been removed from the 2026 edition. Yet Iron Butterfly remain. There appears to be a tendency for the older established canon to be treated as settled history while more recent inclusions are periodically displaced to accommodate newer releases. I can’t establish whether that’s a formal editorial policy, but the apparent asymmetry is troubling. If an album was considered indispensable twenty years ago, shouldn’t it remain open to the same critical reassessment as something released twenty years later? Otherwise, canonical status gradually becomes self-reinforcing. An album is important because it has always been important, and its continued inclusion becomes evidence of its importance rather than the result of renewed scrutiny. It’s not that historical significance shouldn’t count. Of course it should. But the title of the project makes a rather more demanding promise than 1001 Historically Interesting Recordings. There ought to be some distinction between music that helps explain how we arrived at a particular point and music that remains sufficiently compelling to demand attention in its own right. I listened to this album while travelling from Cornwall towards London, on a five-hour train journey that seemed to pass surprisingly quickly. The record certainly generated plenty to think about. I enjoyed tracing its connections with The Doors, Jefferson Airplane, Pink Floyd, Deep Purple and Sabbath. I enjoyed Brann’s remarkably accomplished guitar work, the increasingly confident ensemble playing and the peculiar hypnotic quality of the title track. I even enjoyed being surprised by how dreadful some of the lyrics were. But the pleasure of investigating a recording isn’t necessarily the same as the pleasure of listening to it. Much of my engagement came from identifying what Iron Butterfly were attempting, what they occasionally achieved and what subsequent musicians would do with the possibilities they were exploring. The album ultimately makes a stronger case for the band’s musicianship than for its songwriting, and a stronger case for its historical significance than for its lasting artistic merit. It becomes progressively more interesting without ever quite becoming a consistently satisfying record. There are good musicians here, occasionally making genuinely adventurous music. Unfortunately, there are also some desperately ordinary songs, and the seventeen-minute centrepiece, fascinating though parts of it are, cannot entirely compensate. I’m glad to have heard it. I’m glad to understand something more about where heavy rock came from. But I can’t imagine feeling any particular urge to return to the album as a whole. Of historical interest, certainly. Hardly compulsory.

Hippie psychedelic prog rock. The instruments were good, songs a bit boring. Would have been a 3/5 but you did the insane thing of making a 17 minute song, so it’s a 2.

What's the deal with this album? Except the far too long title-track I can not see anything remarkable! 2,5

There’s that 16 minute elephant in the room of this album. The first five songs are fine. A little Beatles, a little psychedelia, and then you get to the big one. It’s good but not mind-blowing.

Only knew the title track. The rest od the album was OK, but not something I'd revisit.

Ça m'a beaucoup plus et aurait beaucoup plu au Félix de 16 ans s'il avait connu ça. La voix me fait penser à Morrison (et certaines envolées d'orgue à Manzarek!) Et il y a quelque chose de proto prog/proto hard rock qui est bien plaisant. J'ai pensé entre autres à Tarkis de ELP, à Black Sabbath, à Led Zep vers la fin de in-a-gadda.

lol, they named their whole record after mispronouncing the name of their title track. I know iron butterfly is a classic. But, c’mon, they named themselves “iron butterfly”, which feels like a surefire indicator that this record is going to be meh. So, initial reaction: the bass and keyboard players are doing a ton of heavy lifting here. Problem is that I kinda hate it. The bass player rules. The keyboard player can kick rocks. And the singer is laughably bad. Ok, so this is Iron Butterfly. It’s probably not objectively terrible. But I’m not enjoying it. Thing is, I actually get why this is a selection on this project. I don’t enjoy the record, but I can at least respect it. It was probably something of a trendsetting record. I would launch the keyboardist into the sun if I could though. Holy shit, he’s like the centerpiece here, and he sucks. 6/10

3★/5 10.08.2026

Fine

Solid

Having only known the title track very well since I was a kid and discovered my dad’s copy of this record, it was interesting to be reminded that they had more range than just psychedelia. “Flowers and Beads” was more of a Beatles type song than I was expecting. Also find it funny that the title track is literally half of the entire run time of the album. It’s like they knew that this was gonna be it.

Alright all the way through. But the last song alone brought this from a 4 to a 3

That last track is a banger. Favourite Track(s): In-A-Gadda-Da-Vida, Flowers and Beads Least Favourite Track(s): My Mirage, Most Anything You Want

Hip hop is dead. Album doesn't quite stack up to the title tracks influence on popular culture.

I enjoyed this album much more than I expected to--hints of Grateful Dead in there, especially with the drum section of the title track.

3,92 1. "In-A-Gadda-Da-Vida" 2. "Most Anything You Want" 3. "Are You Happy" The title track makes it a four star album.

This is so much worse than I remember it.

“Hey Marge, remember when we use to make out to this hymn?”

#109 The title track is an awesome 17 minute psychedelic jam. The rest of the album is ok, but somewhat forgettable. Reminds me of The Doors, and as with that band's music I get tired of the prominent electric organ usage.

The 1-2-3 combo of "wait this is the song from that simpsons episode" -> "holy shit it's 17 minutes long??" -> "so they weren't lying when they said 'seveteen minutes later'..."

I've heard some lousy sprawling psychedelic rock in my time and this is right up there 😐

I pretty much hated this from start to finish.

Some of these tracks are great for Halloween Ok overall. I get really annoyed with 15+ minute tracks

I love heavy acid rock and I like this record, but I can also acknowledge it's fairly second rate and unmemorable (other than the title track of course). I've had this LP since high school and I couldn't have named another track on it. But I liked listening to it and it's more "good enough if you're into 60s rock" than essential listening.

teringjantje, wat een kutmuziek

2,5

Cool psychedelic blues with the famous title track leading the way. It's a wild ride.

Wow. Rock 'n Roll. 3/5.

Of course, I have heard the title track. Who hasn’t? It started the unfortunate trend of long, monotonous heavy metal songs. The cover is kind of neat. The vocals are not very good. The organis the main instrument. Lots of good hooks from the organ. The lyrics are very bad, abysmal. There is a peace and love vibe throughout the album. The title track is the central piece of the album. It has a good intro and some good hooks. The first five minutes were good but enough is enough. There are long tedious solos. This album started a lot of annoying trends in pop music. For that alone, it is a below average album. Two stars.

I think I would need someone who understands music better to explain to me why this is a good album

not too bad

Can't imagine how influential this album was. Or maybe I can.

great stuff & one of the iconic songs in classic rock 4/5

Got a few songs in before I bailed...didn't even make it to garden of eden :( This has some elements of enjoyable acid rock but didn't quite cohere.

Pretty good, not unlike The Doors in a lot of ways, with its moodier and organ-driven take on Psychadelic. Though Iron Butterfly are notably less bluesy and more openly poppy. Because a good chunk of this album is made up of short, pretty standard, but also pretty good pop tunes, like the opener 'Most Anything You Want' and 'Flowers and Beads'. Otherwise, the album is built around its massive, jammy closing "centerpiece" 'In-A-Gadda-Da-Vida', which is honestly pretty great, especially that first half with the keyboard and psychedelic guitar soloing forming this really entrancing and hypnotizing groove (straight out of "Light My Fire"). It loses a bit of steam near the end with that meandering organ and noise bit, but still a pretty chilling and rather enjoyable monster song. Really neat darker '60s psych record. Again, I'm reminded a lot of The Doors with it, but I do think that while there are similarities there, the band certainly carves out an at least semi-unique sound.

Review - another early heavy metal album that really isn't essential listening due to being done much better slightly later. The title track is a classic but also 17 minutes long. I'd include it on a "must hear" song list, but the album itself is otherwise not that interesting. Score - 4.5/10 Need to listen? NO

Music that men find very important.

It's the "God Rest Ye" detour that seals the deal for me.

This sounds like rock and/or roll

Stupid shit.

Being forced to listen to every mediocre '60s psych-rock band in existence is easily the worst part of this challenge so far. I feel like I'm getting at least one every week. The one unspoken rule of these albums is that they all have a single track worth a damn, surrounded by fodder. Thankfully, the track in question here takes half the album's runtime. Overall, this one isn't bad in isolation, but I'm just so tired of the sound by this point. The vocals are like nails on the chalkboard, though.

Hard to rate this one. Songs were fine - had potential but something lacked Got incredibly annoying towards the end 2.5 rounded up 3 ⭐️

Great title track, probably would have loved this in my teens

Surprisingly nice. 7/10

Too corny. The lead vocal is annoying. The riffs are recycled. Loads of superior music was made in the 60s.

If you wanna listen to "classic rock" you can do so much better than this.

Apple Music took me to a version of this album that was an hour and 40 minutes long at first and no f'ing way. Found the original version. Still no f'ing way. I'll take a 17 minute long song when its John Coltrane exploring the outer bounds of the cosmos, when it's repetitive drugged out vamping nah. The rest of the album is outright boring.

Fading to the drum solo is cowardly. It turns out that you don't, in fact, gotta davida.

The title track is legendary, but the other tracks are quite forgettable

Boring 70s bleh.

More live note taking on this album. 1. Most Anything You Want A song written and played by a band operating under the impression that the Doors could have been improved by cloning Ray Manzarek to double the organ noodling fun. 2. Flowers and Beads A song written and played by a band operating under the impression that the MC-5 should have devoted its discography to cheesy fucking love songs. 3. My Mirage A song written and played by a band operating under the impression that we want to hear about what they saw last time they dropped acid. 4. Termination A song written and played by a band that really liked The Incredible String Band, but didn't have the money for a lute. 5. Are You Happy No, fuckface, I'm listening to this. 6. In-A-Gadda-Da-Vida Okay, I admit it; I like this song. The drum break is great. I enjoy the drum/organ combo after the break. And, when the whole band comes back after all the breaks, you sort of think the song is done, but it turns out there's a second drum break and like 5 more minutes of the shit going down. The whole thing has a nice eerie quality to it. And I start thinking that maybe I accidentally took some acid and now I'm trapped in this endless musical hellscape? But no! Some operatic yodeling signals it's maybe time to wind this fucker down. Throw some final organ scales on there, and boom...we're done. I think I need a drink. Final Assessment: 1 star for the first 5 songs. 5 stars for the last song. Average score: 3.

I like them more when they sound like proto-Metal rather than standard 60s psychedelia or warmed over Doors. The title track is badass and famously overlong. The Simpsons kind of nailed it. https://www.youtube.com/watch?v=ulDC1w1ydLI

The title track is great but flawed. Will always make me think of the end of the movie Manhunter. The rest is okay but not great.

2/5 - Drugs? - Thank you, no I'm straight. - I meant, are you in here for drugs? - Why are you here? - Drugs. - I don't know why I'm here.

Pretty crappy. Even the title song, which is well known and isn't 100% crappy is still 15 minutes long. It feels a bit much, and rest of the songs are absolutely meh.

Fine

This album is perfect for the Southwest US at dusk

Everyone's here for the title track, and even that does not have to be that long. The rest is the textbook definition of 'uninspired'.

Another load of 60s nonsense, damn hippies

heavy 60s rock, good organ, decent guitars

OMG what a slog.

Good.

Enjoyed it more than many other albums on this list

tira tudo menos o rock!!!

Nah.

It is not bad, but I will never choose to listen to it again.

I had never listened to this album. It was fine. It’s odd to hear so many songs (esp. the 2nd track) about women with this music. Points were detracted for the jam session on In-A-Gadda-Da-Vida, which was fun at first, but then droned on and got too ridiculous.

75/100. I love the instrumentation of this record. Otherwise quite a straightforward psych record. The last two tracks are especially enjoyable. It’s fun how the album and title track got their name. The story goes that Doug Ingle, who wrote the song, was so inebriated that he slurred the words enough that the other band members heard In-A-Gadda-Da-Vida instead of In the Garden of Eden.

I actually really liked the long song

I onky knew about this album from That 70's Show before this

Meh, nothing really stood out to me

Decent rock and roll. I very much enjoyed that final song. That saves the album. Bring back long songs!

Kinda interesting. 60s psychedelia. Nothing too exciting on here but it's not terrible.

Pretty lame heavy psychedelic crap that indulges in the worst of the late 60s excesses. Aimless organ, pompous singing, dumb ass lyrics, spiked with an occasionally good drum moment or riff. But not very good.

Not terribly interesting late 60s psychedelic rock. And then there’s the title track. It’s got a great hook but honestly there’s no reason for its epic length. Or maybe its time has just passed.

Tässä oli hieman doors tyyppistä urpoa. Nimikko biisi viimeisenä oli tuttu nas käyttämästä samplesta.

A bit M'eh really, a one hit wonder

A wildly popular album that exists (and I'm assuming appears on this list because of) the title track, one of the best-known rock songs of the late Sixties. One I have heard probably hundreds of times at this point. [And if you're wondering why the band sequenced it last, its because it takes up an entire side of the album, so it could have been sequenced first or last back in the vinyl era and it wouldn't have mattered. If you wanted to listen to it and skip the rest of the songs, that's super easy to do.] What's surprising is not just the quality of the other material in comparison to "In-A-Gadda-Da-Vida," but how strikingly different it is in tone and style. "Most Anything You Want" is pretty straight-ahead psych rock, "Flowers and Beads" sounds like a bouncy pop song until you listen to the lyrics, "My Mirage" is dark, pretty, and complex, and "Termination" has one of the most beautiful, gentle endings I've ever heard. I'm really impressed with this. I'd normally give this a solid 3 and be happy about it, but "Termination" and "My Mirage" really push this into better territory for me. A surprising- FOUR STARS

Why does the lead singer sound like he’s making fun of what a lead singer from this band sounds like? It sounds like Will Ferrel on Saturday Night Live is doing an unserious skit of 60s psych rock singer.

To me this sounds like an off brand version of The Doors.

The highlight of the album is clearly In-A-Gadda-Da-Vida. And it is by far the highlight of the album. The rest is typical 60s rock. Fine songs but not more. Still, due to In-A-Gadda-Da-Vida it's a 5 for me!

In-A-Gadda-Da-Vida is a really good, interesting, varied track (with a really iconic bassline), and it does take up about half the play-time of the album... but the rest of the album is really average. Somewhat torn on where do place this. Going to go with a 4 because I think that song alone deserves a higher score than the average rating on this album, and it occupies such a large portion that it might aswell just be the album.

Obviously this album was made to pad out and justify releasing the title track so I'll reserve most of my judgement for that. Before the title track this is a 2. I went through the mild pain to seek out the original version of the last song. The last song is incredible oh my goddddd. I wasn't ready to achieve such a music induced high. If it was just that track it'd be one of the easiest 5s I've given Unfortunately the rest of the album exists and knocks it back down to a 4.

There are certain bands and albums in the sixties canon that have stood the test of time and others that have faded into relative obscurity. There’s quite a lot of this album that sounds familiar, but that’s because it’s very much a reflection of the time. There are organ riffs that you’d swear are from a Doors album and bits that made me think I was listening to Sunshine of your Love by Cream. If you want a 60s sounding bit of music for your cool indie film about gangsters or serial killers without paying for a big name artist, then you won’t go far wrong with this. This is very much an album of two halves. The first half is generic late 60s hippie pop where everyone has flowers and beads in their hair, and all the girls are groovy. The second half is a rambling 17 minute acid rock epic, featuring a 3 minute drum solo (seriously, I checked my watch) that would give you enough time for a smoke and a cup of tea. The title of this track and the album comes from a drug addled attempt to say “In The Garden of Eden” which probably tells you everything you need to know about this record.

Rambly organ driven rock

low 3.5. A última música é muito boa, as demais não conseguem ser tão interessantes, mas foi um trabalho a frente de seu tempo.

★½

I don’t have a strong opinion of this. It has a striking (and absurdly long) title track. The rest is quite pedestrian even the Summertime Blues cover.

5. septembar 2026. 16.42h nekako sam uspjela da cijeli moj zivot ne cujem za ovaj bend makar ne da ja znam!! it was nice best: flowers and beads, in a gadda da vida

Сара 2,5 Марко 2

glad to have listened, probably would not revisit. 2.5

You know what? I really liked this. It's weird and it's funky and it's short.

Psychedelic and groovy but not inventive. A lot of intricate and technical instrument playing but doesn't stand out. 3/5

For the best bit of the album to be the final 30 seconds of a 17 minute song?

based on the scale, a 17 minute song is hard to swing. That being said, I quite liked it. Rest of the album isnt bad, not sure why other reviewers seem to think the title track is so much different. Solid 3.

Did not really impress me at any point. Kinda bland.

Ahead of their time but also not part of mine.