No, this record’s got its own inherent, slightly psychedelic power to it: this certainly seems to be the most complete LP in terms of outlook; (maybe the idea of basing the idea for the record round a film helped both concentrate minds and allow a new, unifying force into proceedings).
Foni tu Argile opens the album, sounding, in the opening stages, for all the world like a Greek version of Ivor The Engine.
For an encore Barnes and Trost decided to mingle with the crowd, and shouting something about “who needs electricity” played Portland Town in the centre of a rapt, admiring circle.
Vajdaszentivany, whilst being a bugger to spell, is also a sweet little tune for the cimbalom and so sounds a little like a prepared piano playing a folk song. I'm reliably informed, by the way, that a cimbalom is a stringed instrument like a zither
There's no grass for cows to eat and there are big skies
As it turns out the main addition to the set is not of AHAAH's making – they are joined, presumably not by invitation, by two dancers. I use the term dancer in its loosest sense.
Any album filled with accordions and castanets is OK by me, especially if a mariachi oompah band accompanies them as occurs on Pastelka On the Train.