1	Where Did All the Love Go? (Live) 	4:31 	
2	Empire (Live) 	3:57 	
3	Fast Fuse / Pulp Fiction (Live) 	5:50 	
4	Vlad the Impaler (Live) 	4:28 	
5	L.S.F. (Lost Souls Forever) [Live] 	3:48 		play	
6	Fire (Live)	6:23

Musicians:
    Tom Meighan – lead vocals 
    Sergio Pizzorno – guitar, backing vocals, keyboards & electronic programming 
    Chris Edwards – bass 
    Ian Matthews – drums 
    Jay Mehler - guitar 

Kasabian took the British press by storm in the early 2000s by mixing traces of the Stone Roses, Happy Mondays, and Primal Scream with Oasis-sized confidence and DJ Shadow-influenced electronics. Named after Linda Kasabian, Charles Manson's getaway driver turned state witness, the Leicester-based group also stole a page from the Band by moving into a remote farmhouse to brew its music. Communal life and a slew of shared influences produced an electronic, rock-oriented sound that harked back to the Madchester days of baggy pants and druggy dancing. Kasabian expanded that sound on later albums, but the band's foundation remained rooted in swaggering, fragmented dance textures and boisterous rock & roll.

With his acerbic approach to interviews, swaggering lead singer Tom Meighan quickly became a darling of the press during the band's infancy, and Kasabian's revolutionary logos and sleeve art only added to the excitement. Fold-out poster sleeves, 10" versions, and hand-stenciled covers accompanied singles like "Club Foot," "L.S.F," and "Processed Beats." The hype paid off as Kasabian's self-titled debut cracked the Top Five in October 2004, just one month after its U.K. release. Four singles landed in the Top 20 within six months, establishing the bandmates as rock & roll royalty in the process.

Founding guitarist Chris Karloff left the lineup two years later, citing creative differences with the remaining members. Kasabian's second album, Empire, had already been recorded, and guitarist Jay Mehler was brought aboard to replace Karloff during live performances. (Mehler eventually became an official member in 2008.) Empire was ultimately released in August 2006 and debuted atop the U.K. charts, with the title track soon becoming the band's third Top Ten hit. The band took home an NME Award in 2007 and began work on another album later that year. Dan the Automator was brought in to share production duties with Serge Pizzorno, and the resulting West Ryder Pauper Lunatic Asylum appeared in 2009. --- itunes.apple.com

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01. Let's Roll Just Like We Used To 04:47
02. Days Are Forgotten 05:02
03. Goodbye Kiss 04:04
04. La Fee Verte 05:47
05. Velociraptor! 02:51								play
06. Acid Turkish Bath (Shelter From The Storm) 06:01
07. I Hear Voices 03:58
08. Re-wired 04:44
09. Man Of Simple Pleasures 03:51					play
10. Switchblade Smiles 04:13
11. Neon Noon 05:20

 
Bonus DVD

01 – Julie And The Moth Man
02 – Underdog
03 – Where Did All The Love Go
04 – Swarfiga
05 – Shoot The Runner
06 – Cutt Off
07 – Processed beats
08 – West Ryder Silver Bullet
09 – Thick As Thieves
10 – Take Aim
11 – Empire
12 – Last Trip (In Flight)
13 – I.D.
14 – Ladies And Gentlemen (Roll The Dice)
15 – Fire
16 – Fast Fuse
17 – The Doberman
18 – Club Foot
19 – Vlad The Impaler
20 – Stuntman
21 – L.S.F. (Lost Souls Forever)

Personnel
    Tom Meighan – lead vocals
    Sergio Pizzorno – guitars, backing vocals, synthesizer, bass
    Chris Edwards – bass
    Ian Matthews – drums
    Dan the Automator – record producer
    Jay Mehler - additional guitar

Kasabian have trumpeted their fourth album with the usual eyebrow-raising chutzpah about it being a classic, but there's no denying the band have expanded their sound ever further from its lad-rock roots. There's a flamenco feel to many of the tracks, which is hardly familiar fare for four blokes from Leicester. Opener Let's Roll Just Like We Used To echoes the Last Shadow Puppets via Love. La Fee Verte nods to Slade's wistful ballads circa the classic In Flame soundtrack. Only the title track and Re-wired reassert the huge, numbskull electro-rock anthems that made their name. There are, as usual, misfires – Switchblade Smiles sounds like cumbersome big beat from a decade or more ago – but the best tracks here are the most unlikely. Neon Neon is a beautifully existential contemplation of the passage of time. The sublime ballad Goodbye Kiss is even reminiscent of (gulp) Gene Pitney, delivered with the wistful romanticism of rapidly maturing thirtysomething fathers. It's the sound of a band growing in confidence and mapping out their future. --- Dave Simpson, guardian.co.uk

Kasabian’s big PR problem is they’ve never had a Pulp-like wit about them, and their ability to communicate the human condition has been limited to drug trip visions and fist-pumping hippie lyrics that come off as Shaun Ryder-lite. Plus, an Oasis-esque hunger for arena domination just oozes out of this band, so they’re firmly in the “love ‘em or hate ‘em” category, and never more so than on Velociraptor! Here, they’ve got the audacity to open their album with a gong, which gives way to a Mexican trumpet riff, a funky, spy-movie bassline, and production that screams “mod!” That’s possibly the most convoluted way to go “back to basics,” as the opening “Let's Roll Just Like We Used To” infers, but Kasabian have been a band of post-Brit-pop possibilities from the get go, so bringing in techno, ethnic sounds, and an orchestra is coming home for this impudent crew. The hurdle that must be jumped is that wild ideas sometimes take precedence over great ideas, but everything is shaped into a winner thanks to the group’s undying allegiance to the groove. It icky thumps like White Stripes on the gutsy “Re-Wired” and peaks the meters on the Chemical Brothers-like title track. If the bold lyrics don’t always work, the hooks cover that up just fine, and even as everything and two kitchen sinks are thrown at the listener -- productions shifts and epic constructions abound -- the album is right-sized, laying the whole circus out in 11 tracks and pulling up stakes right before the audience tires of the spectacle. Megaton beats still mix well with high-flying, Gallagher brothers-styled melodies, so anyone who wished “Setting Sun” would have supernova’d into an album will have no problem embracing this one. --- David Jeffries, allmusic.com

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