Thundering in with an opening theme based on power and mild chaos. The cut changes gear to a new hard-edged jam. The band work through various reworkings of the theme before a transforming mode moves it into the next segment, a more moody and contemplative one.

Weird hard edged ambient overtones start this, making it feel like it is about to explode into hard edged musical fury. Instead, the song comes in as a gentle Wetton era KC ballad. This one is still rather quirky and intriguing, but quite accessible. It's a great breather and does include a harder edged jam of a chorus.

Slightly off kilter, this one is more KC hard-edged prog fury.

This one starts with ambient sedate strings. The cut moves forward in near classical modes for quite a time, but also move into the vein of near chaotic weirdness. Eventually, the weird tones take control, the song moving into near cacophony in its seemingly random wanderings. This is one of those KC instrumental jams that seem a bit hard to figure out or rationalize.

From the weird to the purely sublime, this cut is arguably the best KC has ever done, and I really think it might be one of the most perfect examples of what progressive rock should be. Mellow, heavily synthesized tones begin it in a haunting ballad style, and the instruments paint an enchanting melody to make up the introduction. This segment becomes the verse mode of the piece, gradually growing and expanding, the band reworking the central melody, creating a wonderful musical tapestry from it, sax wailing wonderfully overtop for much of the piece. Eventually it moves into an expressive instrumental reinterpretation of the central melodic themes before returning to the verse. After a time, the cut shifts a wandering sort of melodic, while quite exploratory jam. The band work this way through this exploration for quite some time before moving into a fast paced new jam. This moves the cut back to an instrument melodic section, this time reworked into a more powerful version. The conclusion is so completely satisfying that I have always thought that the first few seconds of silence after the cut are actually part of the song. It seems to me that there is agreement on this because the gap between songs here seems longer than it might otherwise have been.

As advertised, this is an instrumental mix of the earlier cut. As much as I love Wetton’s vocals, I think I might almost prefer it like this. It certainly works well sans vocals.

I’m not sure this one is quite as effective without the vocals. That said, it does still work well.

As described, some of the mellower parts seem a little altered to me, but it might be just the absence of the vocals.

This full length version of the piece is almost two minutes longer than the one that made it on the final album. I don’t hear huge changes, but the cut is strong both ways.

While a lot of this doesn’t feel different there are some stark moments that feel a little jarring to me. I do enjoy some of the wider separation from instruments at times, though.

I don’t hear a huge difference here, but some of the parts do seem more distinct.

The instrumental portion of the track later really benefits from this mix. I can hear things in it that I never heard before. It’s so strong. I think I actually prefer this version to the one that wound up on the main album. That said, a lot of the rest of the track doesn’t really feel different.

A four-minute, percussion only take, this is intriguing, but not really my thing.

The opening horn based section is extended and intriguing. It has some real classical music vibes. From there, it drops to familiar Mellotron movement as we get into the song we recognize. A lot of the rest of this feels more like the other version, but there are some intense parts later that make me think of some kind of feral animal.

Here we have an isolated Mellotron track, but you probably figured that out, right?

Again, truth in advertising is on display here.

This is a more stripped down take on the tune – with just mostly the basics. I definitely miss the horns in the mix. This is sans vocals, too. The bass really stands out on this version. This has its charms, but is mostly worthwhile for academic reasons to me.

This includes the driving rhythm section as the backdrop for the saxophone solos.

Now, this mix gives a completely different feel to this thing. It’s pretty crazed and intriguing.

Much more closely aligned with the final version, the horns really show off later along the road.