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Galahad biography
GALAHAD formed in 1985 just for fun playing a mixture of covers (GENESIS, ZEPPELIN, RUSH, SABBATH, FOCUS, MARILLION etc.), in order to get gigs(!) and original material.

Then, after mixing it with the slightly 'bigger boys' such a IQ, PENDRAGON and MAGNUM, GALAHAD decided take it more seriously, playing only original material resulting in the release of their first proper album in 1991, 'Nothing Is Written', which was self-financed, released independently but which sold several thousand copies.

Over the years GALAHAD have gone on to play hundreds of shows all over the UK, Europe and America releasing eight studio albums, three rarity albums and numerous live albums/DVD's along the way as well as releasing albums by offshoot projects such as GALAHAD ELECTRIC COMPANY and the GALAHAD ACOUSTIC QUINTET.

The band have never been ones to rest on their laurels and have been constantly evolving over the years soaking up a number of different influences, always looking forwards.

Their last three studio albums 'EMPIRES NEVER LAST', 'BATTLE SCARS' and 'BEYOND THE REALMS OF EUPHORIA' have taken them towards a heavier, more muscular, guitar orientated direction combined with a liberal use of sequencers and more groove/dance orientated beats creating a unique modern sound whilst retaining very occasional nods to their 'Progressive' past.

2013 saw the band publish their official biography 'ONE FOR THE RECORD' accompanied by a DVD anthology containing rare footage of various performances over the years. The band also played a few very successful European dates as well as the renowned Baja Prog Festival in Mexico.

2014 sees the band releasing several EP's containing acoustic versions of several songs from 'EUPHORIA' and 'BATTLE SCARS' as well as re-workings of older songs whilst they will also be writing for their next studio album.

Biography provided by the artist and used with permission

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Beyond the Realms of EuphoriaBeyond the Realms of Euphoria
CD Baby 2016
Audio CD$8.43
$10.32 (used)
Empires Never LastEmpires Never Last
United States Dist 2015
Audio CD$10.12
$14.25 (used)
When Worlds CollideWhen Worlds Collide
Double CD · Import
Audio CD$21.99
Battle ScarsBattle Scars
CD Baby 2016
Audio CD$7.29
$6.50 (used)
Seize the DaySeize the Day
Imports 2014
Audio CD$5.75
$5.75 (used)
CD Baby 2012
Audio CD$18.94
$11.99 (used)
Mein Herz BrenntMein Herz Brennt
Single · Import
Imports 2014
Audio CD$5.82
$5.83 (used)
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GALAHAD discography

Ordered by release date | Showing ratings (top albums) | Help to complete the discography and add albums

GALAHAD top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.45 | 67 ratings
Nothing Is Written
2.87 | 56 ratings
In A Moment Of Complete Madness
3.44 | 37 ratings
Galahad Acoustic Quintet: Not All There
3.33 | 93 ratings
3.00 | 72 ratings
Following Ghosts
2.18 | 17 ratings
Galahad Electric Company: De-Constructing Ghosts
3.53 | 99 ratings
Year Zero
4.08 | 369 ratings
Empires Never Last
3.82 | 257 ratings
Battle Scars
3.87 | 266 ratings
Beyond The Realms Of Euphoria

GALAHAD Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.88 | 6 ratings
The Christmas Lecture
3.26 | 15 ratings
Classic Rock - Live
3.97 | 18 ratings
Sleepless In Phoenixville - RoSfest Live 2007
3.90 | 11 ratings
Whitchurch 92/93 - Live Archives vol. 2
4.18 | 9 ratings
Solidarity - Live in Konin

GALAHAD Videos (DVD, Blu-ray, VHS etc)

3.81 | 36 ratings
Live in Poland - Resonance (DVD)

GALAHAD Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.08 | 12 ratings
Galahad - Other Crimes and Misdemeanours vol. 1
3.05 | 19 ratings
Other Crimes And Misdemeanours II
3.13 | 8 ratings
2.61 | 18 ratings
Other Crimes And Misdemeanors III
4.50 | 4 ratings
When Worlds Collide

GALAHAD Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.75 | 8 ratings
In A Moment Of Madness (Tape)
3.40 | 5 ratings
Voiceprint Radio Sessions
4.14 | 11 ratings
Seize the Day
4.00 | 2 ratings
Guardian Angel
4.00 | 2 ratings
Mein Herz Brennt
4.78 | 4 ratings
3.50 | 2 ratings
Empires Never Last (Orchestral Version)


Showing last 10 reviews only
 Sleepers by GALAHAD album cover Studio Album, 1995
3.33 | 93 ratings

Galahad Neo-Prog

Review by Angelo
Special Collaborator Honorary Collaborator / Retired Admin

3 stars The English quintet Galahad was founded in the mid 80's, and as such celebrates it's 30th anniversary in 2015, while at the same time commemorating 20th birthday of their album Sleepers. A remaster of this album, which is considered an underrated gem amongst neo prog fans, was released in 2015 for this purpose.sleepers

On the album, Galahad certainly shares sound elements with the likes of Marillion and IQ. The fact that singer Stuart Nicholson manages to sound like Fish and Peter Nicholls at times, may have something to do with that - something that has been brought up many times. It certainly isn't a bad thing, let that be clear.

The remastered release of Sleepers has great sound, on all the original tracks as well as the two additional bonus tracks. A sound that sometimes oddly reminds me, but I found out I'm not the only one, of the Pet Shop Boys, not exactly a progressive rock influence. It's not bad, but it might not be what one might expect from a band in this musical domain. Just listen to The Dentist (with funny lyrics about what happens at a dentist visit) to get the idea of how synth pop mixes with rock. [acfw id=2]

On other tracks, like Sleepers and Exorcising Demons, the music is more comparible to the likes of Genesis and Marillion - influences that are nowadays also still very much present in the works of Tiger Moth Tales. Exorcising Demons reminds me of Marillion's The Web in terms of atmosphere. The song Amaranth deserves mention as well - it brings rock with a beat, and has a very bombastic keyboard section in the instrumental mid section.

Looking at the complete picture, I like this album for what it is. It is a milestone in the career of Galahad and might have deserved more attention when first released, and certainly over time. At the same time, it's not one that I would play every day - it may not be a blind buy to everyone.

Also published on my blog

 Solidarity - Live in Konin by GALAHAD album cover Live, 2015
4.18 | 9 ratings

Solidarity - Live in Konin
Galahad Neo-Prog

Review by rdtprog
Special Collaborator Prog Metal / Heavy Prog Team

4 stars Since the release of the "Empires Never Last" , the band has taken a new direction with Karl Groom (Threshold) as an engineer. The Marillion or Genesis influence has been replaced by a more heavier sound. This live show spread out in 2 audio disk and 1 video demonstrate that new direction even further. The live versions of the songs seems to have a heavier sound compare to the studio versions. From the first song "Salvation I Overture" we almost have the feeling of being in a dance club dancing on a techno beat from the keyboard player Dean Baker. In the next song who is the suite, the singing begin with a faster tempo and the heavy sound. "Guardian Angel" has a melodic chorus with some clear Riverside passages. "Empires Never Last" brings things down on the first part with some improvisation in the middle of the song. "And Secret Worlds display some impressive piano lines throughout the song. "This Life could be my Last" is a favorite for the crowd with his dramatic melody carried by the emotional vocals of Stuart Nicholson. This live show could not exist without the old epic "Sleepers" who is still amazing on this live recording. It is clear that the band wanted to sound modern with some techno effects, heavy guitars and trying to get away from the Neo-Prog tag and probably prefer to be tag a symphonic Rammstein! The DVD of this show don't have a picture quality as good as the previous one : "Resonance", but it's still pleasant with a good stereo sound.
 Seize the Day by GALAHAD album cover Singles/EPs/Fan Club/Promo, 2014
4.14 | 11 ratings

Seize the Day
Galahad Neo-Prog

Review by SteveG

3 stars A postcard from the Neo-prog underdogs.

A friend gave me this 2014 Galahad EP convinced that I would love one of it's tracks. And he was right.

Galahad always seemed to me to be the underdog of prog rocks' underdog class, the Neo proggers. Never able to raise to a level equaling Marillion, Pendragon and IQ, this band's core group of Stu Nicholson, Roy Keyworth and Dean Baker have been the main part of this group for the last thirty years and seem to have the desire to stay together for thirty more.

Seize The Day is a track from their 2014 album Battle Scars and is included it with a stunning remake of an early song, Painted Lady, that I understand to have been only available on a cassette, along with a later album period song called Bug Eye. Both Seize The Day and Bug Eye display the quintessential Neo-prog qualities which endears this band to fans such as Gilmour-ish guitar flourishes, Floydian synths and a vocalist, Nicholson, who has a touch of Jon Anderson in his voice without being irritating or completely derivative. Both of these tunes simply demonstrate what the listener is, or is not, missing according to their individual tastes.

Now, however, we turn the song in question. Renamed 21st Century Painted Lady, this beautiful haunting ballad, spiked with modern sounding sequencer touches, and a dense sound mix is absolutely one of the best Neo-prog songs that I have ever listened to. It's nearly impossible to get it out of ones' head. A real mental specter.

So, if you would like to check out Galahad as they sound in the 21st century, this 6 song EP will more than suffice and you're guaranteed of at least one killer song, along with a few very good ones, I would bet. 3.5 stars for the veteran underdogs.

 30 by GALAHAD album cover Singles/EPs/Fan Club/Promo, 2015
4.78 | 4 ratings

Galahad Neo-Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars Majestic. Grandiose. Class. Those are the very first words that came to me as I was listening to this four track EP, which Galahad have released as part of their thirtieth anniversary year. They have taken four of their older numbers, and have re-recorded them in a manner that is both a nod to the past yet very much showing the current and future direction of the band. Three of those involved, Stu Nicholson (vocals), Roy Keyworth (guitars) and Spencer Luckman (drums) were of course involved when the songs were recorded the first time around, Tim Ashton (bass) played on some before taking his rather extended break from the band (22 years!) while 'new boy' Dean Baker may not have played on these originally, but he has been around since 'Following Ghosts' (can it really be sixteen years since that came out?).

First up is 'The Chase', a song I first heard when Stu and I were sat in my car outside King Arthur's Court before a gig, listening to a pre-release of 'Voiceprint Radio Sessions' (which to my horror I realise was more than 20 years ago now as it was their 8th Anniversary show, with The Morrigan in support, who they had also played with at Whitchurch). This time around I was struck by the space contained within the song, and the way the use of acoustic guitar transforms it. Stu is still singing as well as ever, hitting the higher notes with ease, while the music shifts and moves. Providing bass is Daryl Watts, son of the band's original bassist Paul, and he locks in with Spencer to provide the groove while Roy is playing with more confidence than ever, relishing the opportunity to move the song into a more metallic direction with riffs that are both laid back and strident, while Dean definitely takes the opportunity to shine. Even when he isn't providing the primary melody, there is a great deal going on in the background, so that the song has way more depth and power than the original ever did. Something else I noticed on this song, and throughout the EP, is that the production has allowed us to really hear just how important Spencer is to the overall sound. I have played all of their songs many, many times, but I have never heard the drums quite so to the fore and hadn't realised just how much of a powerhouse he is.

And so, onto 'Chamber of Horrors'. I must confess that I was rather worried about this, as this was one of two songs from 'Nothing Is Written'. Not only was it their first ever full length release, but it is also an album that I have saved on my iPhone and still play frequently. For much of the time the band play this fairly 'straight', staying fairly close in many ways to the original (although Stu sounds more relaxed and going with the flow than first time around), but when Dean comes in with the keyboard lead with a sound straight from the Eighties all bets are off, with Tim providing some great driving bass in the background. The short break leads into the restrained guitar lead, some lounge keyboards and superb rhythm section, and then we are off and running towards the end.

'Dreaming From The Inside' was the A-side of the band's debut single, and was later re-recorded as part of the Galahad Acoustic Quintet project, but here the use of classical guitar (by producer Karl Groom ' very much a far cry from the sort of riffs he provides with Threshold) and piano (by ex-keyboard player Mark Andrews) combined with great vocals lifts it far higher than it had ever been imagined before. A great deal of thought has gone into this arrangement, and it is the restraint and use of space that makes it now one of the finest songs they have ever recorded. This is quality, sheer quality, of the very highest order with Tim and Spencer having an incredible impact by not appearing until nearly four and a half minutes through. Roy switches to electric, while Dean provides some keyboards on top of the piano, as they rock through to the end. Part of me is torn, as I can't make up my mind if it would have been better to stay with the trio all the way through, but I love it as it is.

'Room 801' is an intriguing choice to end the EP with, as although it has always been one of my favourite songs, this was one that I have always associated with Neil on bass due to the way he attacked this in concert, even though Tim played on the original recording. Here it starts with sound effects for the first minute or so, gradually coming in with a nod to 'Close Encounters'. One small thing that made me smile, is that on the original there is a distinct percussive sound that strikes out a rhythm, while here the exact same sound is used rather more sparingly. This has been done just for the true Galafan, as those hearing this for the first time won't know the difference, but anyone who has played the original will smile with the recognition. Almost Marillion-eque in its approach, there are multiple layers, and a classiness throughout the eleven minutes, with some great filmatic clips. I hate to think how much Dean had to work on this, as there are multiple keyboard tracks combining to provide a sound that is almost Tangerine Dream or Jean Michel Jarre at times, evoking the feel of 'space'. He and Stu combine magically, with the rest leaving them to it at times, coming back in to provide a restrained oomph. The guitar lick at eight minutes starts with Roy mimicking what he did all those years ago, before moving away and back again, keeping to the original but also making it very much a new piece with harmonies and layers of his own. Galahad probaby first came to prominence to many when they won the Radio One Rock Show Rock Challenge back in 1991. Somehow it seems fitting that the EP ends with the might Tommy Vance introducing the band (love the Stephen Hawkings amendment of Mark to Dean) and saying that 'Room 801' is an epic song. And do you know what? He's right.

So four songs, just tasters of what will be released later this year, and I can't wait.

 Nothing Is Written by GALAHAD album cover Studio Album, 1991
2.45 | 67 ratings

Nothing Is Written
Galahad Neo-Prog

Review by Matti
Prog Reviewer

3 stars I bought this CD approximately six years ago (had I read the unfavourable reviews here beforehand I surely would have chosen something else in the record store) and haven't listened to it since that - until yesterday. At the time of buying, I knew GALAHAD by one track only, 'Bug Eye' from Following Ghosts (1999), and thought it was a great and indeed personal slice of Neo Prog.

And "personal" is exactly what this debut album is very far from. If one needed an album to epitomize Neo Prog from the 90's onwards as clean, derivative, diluted and clinical "second generation copycats" (considering the early Neo bands in the 80's as the first generation copycats), this would do the job perfectly. In other words, those who despise Neo in general won't like this album at all, and those who honestly enjoy melodic Neo Prog in its most typical form will probably see it at least as a very decent, if not even pretty good, album.

Some say that the synth-oriented sound is very thin and hollow, but definitely I've heard much worse. The songs are poppy and accessible and frankly quite forgettable compared to e.g. Fish-era Marillion, but none of them is unbearably cheesy or silly. Keyboards and guitars are OK, though solos could be more daring. The vocalist Stuart Nicholson has some slight Fish-influenced mannerism but not to a disturbing degree. The colour of his voice also reminds me a bit of Geddy Lee of (not the early era) RUSH. The band's musical influences probably have been MARILLION, PENDRAGON and IQ - perhaps also TWELFTH NIGHT, but this is averagely mellower. 2' stars rounded up.

My copy has a bonus song 'There Must Be a Way', which is closer to pure pop music than the main album, an emotional song with a sticky chorus that ELTON JOHN might have written.

 Battle Scars by GALAHAD album cover Studio Album, 2012
3.82 | 257 ratings

Battle Scars
Galahad Neo-Prog

Review by Progulator
Prog Reviewer

3 stars British neo-prog veterans Galahad's latest album, Battle Scars, did not disappoint me in the least bit. Battle Scars is an album that from the first moments is full of melodic atmosphere, rocking vibes, and great hooks. For prog this is definitely on the catchy side, but in a good way. The vocal melodies are memorable, but perhaps what most grabs me about this release is how it sounds both incredibly modern while still sounding very neo-prog. Lots of heavy guitars, crisp production, and fantastic inclusion of less conventional elements (for prog), such as loads of electronic music influences. Ultimately, this album is all about 'songs.' Don't expect some majestically deep ocean of sonic waters or on this one. But, DO expect a great album, one that you can rock out to, and for the musicians, one that's really fun to jam along to as well!
 Other Crimes And Misdemeanors III by GALAHAD album cover Boxset/Compilation, 2001
2.61 | 18 ratings

Other Crimes And Misdemeanors III
Galahad Neo-Prog

Review by apps79
Special Collaborator Honorary Collaborator

3 stars It appears that sometime around 1998 Roy Keyworth stepped down from his duties and he was briefly replaced by one Craig Wilson, but the following year he became again a stable branch of the Galahad line-up.In 2001 comes the third part of the ''Other crimes & misdemeanours'' series, originally released on Avalon and reissued in 2009 along with the second part by the Oskar label.

This is another nice archival document of Galahad's history with the first part, consisting of ''Aries'', ''The chase'' and ''Learning curve'', being of significant interest for fans of the band.These pieces were originally presented on the 94' ''Voiceprint sessions'' EP and date back from a 93' recording session, although the first two were written in 1987.What else should you expect than some flashy, melodic and deeply atmospheric, MARILLION-esque Neo Prog, featuring great work on keyboards with quasi-symphonic and even Classical leanings over tapping grooves and expressive vocals, typical 80's stuff played with energy and passion.Second part is dedicated to a live execution of Galahad at BBC back in 1991 with Tim Ashton on bass.The band represented its repertoire with ''Face to the sun'', ''One for the record'' and ''Room 801'', no surprise these performances are great, dynamic and powerful, all tracks sound better than on the original versions due to the energy of Galahad on lives, and the romanticism, MARILLION-like bombastic synths and dramatic segments are displayed here in full shape.''Exorcising Demons'' is a fourth live track in the row, but this one was to be included originally in Galahad's 96' live album ''Classic rock live'', but lack of space resulted to its isolation from the list.Not much to say, the track offers a heavier side of Galahad along with grandiose orchestral breaks and a deep lyricism due to Nicholson's unique vocals, another winner of this compilation.In the fourth and last part the band covers three classic tracks from three classic British Prog bands, ''The ceiling speaks'' of Twelfth Night with its spooky, semi-Punk attitude next to the symphonic flavor of Progressive Rock, ''Lady fantasy'' of Camel with its striking solos and brilliant keyboard passages and ''The chamber of 32 doors'' of Genesis with the smooth, organ-based textures, the mellow, poppy melodies and the eccentric, unique vocals of Nicholson in the role of Peter Gabriel.

Notice than the 2009 reissue contains also ''The pleasure house'', which was a song presented in ''The reading room'' compilation of LaBraD'or Records in 2000.Maybe the least efficient of all ''Other crimes & misdemeanours'' parts, still this is more consistent and well-worked of a release than any of Galahad early studio albums.Great band and a warmly recommended document.

 Seize the Day by GALAHAD album cover Singles/EPs/Fan Club/Promo, 2014
4.14 | 11 ratings

Seize the Day
Galahad Neo-Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars It's been a while since Galahad last released an EP, in fact it has been 20 years since the 'Voiceprint Radio Sessions' came out. I can remember listening to it in the car with Stu before a gig at King Arthur's Court, makes me feel very old indeed! So, what we have here are three songs with two versions of each. First up is an edited version of "Seize The Day", taken from 'Battle Scars', and I can see why this was chosen as at just over four minutes long this half- size version really works. It certainly doesn't feel as if it has been edited, and if someone was coming across this as an introduction to the band then they would be surprised to hear that it is normally double the length. There are some wonderful bass lines here which feature almost as a solo, and each time I hear them I see Neil in my mind's eye. The band really come together on this song, with stellar performances from everyone with Spencer and Roy doing their best not to be overshadowed by Dean and Stu, and sometimes they achieve it.

Next up is the full-length version of the same song, which to my ears is definitely the best way to hear it, but the edited version does enough to more than stand up in it's own right. Next up is a 'new' song, "21st Century Painted Lady". In fact the original version is one of Galahad's oldest songs, but the first time it featured on a recording was on the cassette 'Other Crimes and Misdemeanours', with another version appearing on the second of that series and yet another on the reissue of 'In A Moment of Madness'. Here we have a very different side of the band, acoustic and without the trans-style keyboards of "Seize The Day". The musical accompaniment works so well that the next song is the instrumental version of the same song, and it is interesting to hear yet another styling with Dean really making his presence felt and the whole song feeling quite different. Interestingly Karl Groom also adds some guitars to this track, although not quite in the bombastic Threshold manner that one often associates with him.

Then it is time to close with "Bug Eye". It is strange to think that 'Following Ghosts' is in itself some fifteen years old now, and this features the same line-up of the band that originally recorded this back then. It has been updated, with the guitar and keyboards being more clear and dynamic, and at nine minutes long is the second longest song on the EP. The honour of the longest goes to the live version of the song, which closes the EP, and at more than twelve minutes long they all have the chance to shine. Stu has always been a great live performer and there is an additional edge to his vocals that provide a great contrast to some of the softer moments. Galahad have always been a rock band first and foremost, and this shows that even with different keyboard stylings the Dorset boys are always ready to pound it when the need arises.

This is the first in a series of EPs planned for this year. I can't wait for the next one, especially when one considers that it is more than 40 minutes long! Not bad for an EP. For more details on this, plus downloads and much more visit

 Seize the Day by GALAHAD album cover Singles/EPs/Fan Club/Promo, 2014
4.14 | 11 ratings

Seize the Day
Galahad Neo-Prog

Review by Second Life Syndrome
Prog Reviewer

4 stars A good EP should always provide plenty of interesting content, especially if it's an EP based on one of the songs off a previous album. That is what amazing modern prog rock band Galahad has given us in this new "Seize the Day" EP. It's a bite-sized chunk of Galahad goodness that will especially please fans. In fact, it is the first of multiple EPs that the band plans to release in 2014.

Basically, Galahad took one of the best songs off of their brilliant album "Battle Scars" from 2012, a year in which they released two wonderful, full-length albums, and made a nice EP with some goodies added. The song of choice is "Seize the Day", an excellent medley of trance keys and guitars with a nice, hopeful message. It's definitely one of the best songs they've ever written, and so I can understand why it was used this way. The album contains both the single and full versions, even though I don't think I'll be listening to the former that much. Some of the most interesting parts of the song are cut in favor of accessibility. I understand this, but I don't have to like it.

Two other songs get similar treatment here. Galahad has a knack for re-recording their older songs to make them into something even better. These other two songs are an example of this. A short little track off of their 1993 "In A Moment of Complete Madness" album gets a full re-work into something truly extraordinary. "Painted Lady" becomes "21st Century Painted Lady" and displays the band's recent exploration of trance music. In fact, all of the songs on this EP display the eerie keys I've come to love. The guitar work, however, is as strong and powerful as ever. "21st Century Painted Lady" gets two versions, the full version and an instrumental version.

The final re-worked song is "Bug Eye" off of their 1999 album "Following Ghosts". Again, it features the trance keys, but also features quite a psychedelic, quirky mood that I find sublime. It is really quite different from the original version to where it is basically a new song. I think this might be my favorite of the tracks on this EP. "Bug Eye" also comes in two versions, the full version and a much longer live version that is really impressive.

So, even though there are only about three songs on this EP, Galahad gives us enough interesting content to warrant this as a purchase. The re-recordings are especially impressive, as they have been on their past couple albums, too. Indeed, this EP is about quality over quantity, methinks. I found much to love about this EP, and I think fans and Galahad virgins alike will appreciate the quality music here.

 Battle Scars by GALAHAD album cover Studio Album, 2012
3.82 | 257 ratings

Battle Scars
Galahad Neo-Prog

Review by Progrussia

3 stars The album's beginning - the militaristic orchestral intro, followed by elongated vocal exercises and a blast of crunchy guitars and powerful chorus - immediately introduces the new Galahad. Heavy, melodic and dramatic. Pretty catchy stuff, if you can stand the over-done vocals. Too bad Arena already did this 12 years ago. This feeling of uneasiness permeates the rest of the album. Even during the more restrained passages you expect to be blasted by loud guitars and powerful chorus. The album ends strongly with two of the longer songs. Seize the Day incorporated some techno beats and another sing-a-long chorus. Sleepers is a remake from 1995. Basically what they did is reinforce the edges. The industrial-ish intro became even more industrial (and unneccesary, in my opinion), the laughing bit more maniacal and the ending long solo even more typically Pink Floyd-meets-metal sister bands like Arena and Threshold are fond of.
Thanks to kev rowland for the artist addition.

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