This album, released in 1988, was the first album for the new lineup of the band. After the shock departure of (due to stress and pressure to perform mounting on) vocalist Eizo Sakamoto, the band looked set to either disband or take a nosedive in terms of popularity. They did neither. Vocalist Yukio Morikawa, who had previously auditioned when previous vocalist Sakamoto Eizo got the job after the band narrowing it down to these two, was called back to see what would have happened had he joined…
In an unspecified Renaissance kingdom, no sooner has Anube's gypsy tribe encamped near Baron Tovar's village when Count Orso is found murdered. The wicked baron blames the gypsies and imprisons them all in his castle. Meanwhile, a mysterious stranger on a white horse has hidden the murder arrow and won the heart of gypsy belle Carla, to the discomfiture of her erstwhile fiancée Tonio. Baron Tovar is also fascinated by Carla…especially when he notices her heraldic pendant.
The legacy of violence handed down through generations of gypsy fathers to their sons.
THE URBAN VOODOO MACHINE: A London collective of shadowy ne’er do wells, led by Norwegian born Paul-Ronney Angel. Featuring between 7 to 12 musicians playing guitars, drums, fiddle, trumpet, banjo, washboard, upright bass, gong, mandolin, accordion, harmonicas, saxophone, tuba, sousaphone and even empty bottles & tie racks to build their unique brand of Bourbon Soaked Gypsy Blues Bop’n’Stroll… "With their lurching sea shanties, debauched murder ballads, messed-up tangos and whiskey-soaked gypsy stomps, some reckon they’re from the same stable of stallions as Tom Waits and Nick Cave; others point out the last gang in town swagger of The Clash and the hellbound blues that John Lee Hooker first dragged out of the swamp".