After being thrown 15 feet off of the stage in London on December 10, 1971 by unstable concert attendee , spent the better part of the following winter and spring in rehearsals for what would become the (1972) and (1972) platters and related live shows. (2004) -- the second in a series of never-before-available material from the luminous tape vaults -- gathers 50 minutes from these closed-door sessions, during which was confined to a wheelchair as he recuperated. The incident left the guitarist with some permanent damage, with a lower voice from a partially crushed larynx, and a fractured right leg which ended up shorter than the left, as referenced in the lyrics of and Being off the road resulted in some of the 's most involved fusions of . These rehearsals were most likely not meant for public consumption, having been sonically remastered from a decidedly cassette. For all intents and purposes, this is an examination of the modular process that used when creating his extended works and intricately detailed compositions, including contributions from an impressive lineup of (guitar/spoken instructions), (guitar), (organ), (trumpet), (trombone), (baritone sax), (drums) and (bass) -- the latter often credited under the pseudonym . Granted, the fidelity is distorted and typical of what a cassette from 1972 might sound like. However, tucked into the otherwise grungy audio and the incessant start/stop methodology of these preliminary run-throughs, 's hands-on involvement becomes exceedingly evident to the lay person. He methodically teaches his highly advanced rhythms and time signatures with a definite and well-thought-out sense of the bigger picture. Fragments and in-progress snippets of [aka ] and an "Interlude" that philes refer to as "Twinkle Tits" are among the songs that would eventually surface from the music heard here in their primordial forms. ~ Lindsay Planer