5000 Рух немесе Пияздың Қаттары

The 5000 Spirits or the Layers of the Onion is the second album by the Scottish psychedelic folk group the Incredible String Band (ISB). It was released in July 1967 on Elektra Records. The album was recorded following the reformation of the band as a duo consisting of Robin Williamson and Mike Heron. Notably, the album was a change in musical direction for the two as they transitioned from their more conventional folk music structures into complex psychedelic compositions influenced by British folk and Indian music. Upon release, the album peaked at number 25 on the UK Albums Charts, and failed to chart on the Billboard 200. It was preceded by the single, "Painting Box", in June 1967 which evidently failed to chart. An additional promo single, "Way Back in the Sixties" was also released in support of the album. The album established the band within the British folk scene, while also gaining them an underground presence in the United States. At the time of its release, the album was recognised as being ambitious, and for creating a contrasting sound to other musical acts who were also utilising similar instruments at the time.

The ISB came to prominence in the UK in June 1966, as a result of the release of their debut album, The Incredible String Band, which incorporated more conventional folk tracks in comparison to their later work. It bestowed upon the group a "Folk Album of the Year" award in Melody Maker's annual poll, but members Robin Williamson and Clive Palmer left England following its release. In late 1966, Williamson returned from leave, in which time he ventured to Morocco with his then girlfriend, Licorice McKechnie. With his arrival, Williamson brought back a wide variety of exotic instruments of African and Middle Eastern origin. Mike Heron, as well, had begun to broaden his musical horizons by experimenting with the sitar in Williamson's absence. Williamson reformed the ISB with Heron, but not with founding member Palmer, who was still travelling in Afghanistan. As a duo, the two rehearsed early versions of the material that configured their second album. Crudely recorded on a tape recorder and a single microphone, rehearsals took place in Balmore between October 1966 and February 1967, in a period that was charged by extensive discussions between Williamson and Heron over the instrumental arrangements of the new material. Following further rehearsal periods (recordings of the resulting demos were later released as The Chelsea Sessions 1967), the ISB completed the entire album at Sound Techniques, Chelsea, London in early 1967. The recordings were conducted on four track, in the first instances of the duo overdubbing, and multi tracking their wide assortment of instrumentals that included sitar, gimbri, and mandolin. Much of the instrumentals drew upon influences of the psychedelic genre, along with the foreign playing Williamson witnessed in his travels. Williamson and Heron's compositions were eccentric in nature, relating with themes of mythology, life, and religion. For the recordings, session musicians were featured, such as Nazir Jairazbhoy on sitar, Pentangle's Danny Thompson on double bass, and on piano was counter culture activist John "Hoppy" Hopkins. Future ISB member McKechnie also made her first contributions to the band, appearing as a vocalist and a percussionist. Although several other musical acts, including The Beatles and The Rolling Stones, had already begun incorporating sitar into their compositions, the ISB featured Jairazbhoy, a musician who was traditionally taught with the instrument, rather than a western instrumentalist. Williamson also drew inspiration from his time in Morocco, becoming influenced by the song structures and vocal techniques. The album's compositions reflected upon these developments, Williamson's adaption of the Arabian oud to the guitar, and the vocal arabesques being major stylistic points in the album's overall sound. The album, more successful than the ISB's debut, peaked at number 25 on the UK Albums Chart and number one on the UK Folk Chart, in part due to its promotion by DJ John Peel. Its cover, designed by Dutch artists nl and nl, better known as The Fool, featured a multi coloured hermaphrodite juxtaposing both light and darkness. Two singles preceded the album's release, both of which were issued in June 1967, only to the UK. "Painting Box" then "Way Back in the Sixties" managed to promote the diversity in the band's lyrics and instrumentals, but failed to chart in the UK. sitar, tanpura