The 5000 Spirits or the Layers of the Onion is the second album by the Scottish psychedelic folk group, The Incredible String Band (ISB), and was released in July 1967 on Elektra Records (see 1967 in music). 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. Background 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. Shortly afterwards, in early