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CRIMINAL JUSTICE
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Boomp3.com
125 MB
320 CBR LAME mp3
CD rip & scans from TVT 5210-2
Critical darlings from the early 90s, D*Note were among the vanguard of those trying to bring jazz into the post-acid house era. Although technically a one-man band, Matt Winn collaborated with a tight-knit circle of friends connected to the Dorado/Filter label consisting primarily of Matt Cooper, Charlie Lexton (older brother to Jamie AKA Kid Loops) and Ceri Evans, with help early on from Gary Crosby (of Nu Troop and Jazz Jamaica). As the 90s petered out and the global house scene became an unstoppable phenomena, Matt W and crew kept with the times and scored a hit single in 2002 with Shed My Skin. As broken beat brought back a heavier reliance on jazz and polyrhythms in the earlier half of this decade, he followed suit and released Laguna. You can hear some of it yourself since Winn's posted a few tracks on his MySpace page.
Discogs Bio
The skills behind D*Note's brand of jazz, rap & rare groove belong chiefly to Matt Winn (Matt Wienevski), who is helped by scratcher Charlie Lexton (Cool Breeze) & occasional keyboard player Matt Cooper (who records for Dorado in his own right as Outside). Their debut album housed the singles Now Is The Time, Bronx Bull, Scheme Of Things & The More I See, each of which enjoyed good reviews in their original formats. Criminal Justice the 2nd album, built on the energy level of the debut & included stand out tracks like the title, Inquinity Worker and the monumental The Garden Of Earthly Delights with a stand out performance by vocalist Pamela Anderson, a regular on the first three albums, who for obvious reasons changed her name to PY Anderson later on.
Other collaborators on the 1st albums include Ceri Evans (Sunship), singer Dee Major & rappers Navigator and Krazy Cool D-Zine. Only Anderson resurfaced on the slightly disappointing third album, where D*Note moved in a more conventional housier direction. It does include one of their best anthems though, the moving Waiting Hopefully again starring Anderson. 4 Hero & Deep Dish graced the 12" versions with topnotch remixes.
AMG Review by John Bush
By the time of D*Note's second album, acid jazz had begun to get a bit stale, so Winn & Co. expanded the range of their sound, incorporating a bit of ragga-jungle on the title track (with chatting by MC Navigator), mainstream house on "Garden of Earthly Delights" (with the vocals of Pamela Anderson, sister of Jhelisa), and ambient jazz on "Deep Water." Despite the diversity, D*Note never fails to lose their character through it all, and the acid-jazz fusion comes off remarkably well.
Matt Winn - Composer, Flute, Drum Solos, Producer
Matt Cooper - Piano
Gary Crosby - Acoustic Bass
Pamela Anderson - Vocals
Dee Major - Vocals
Joy Malcolm - Vocals
MC Navigator - Vocals
Ceri Evans - Piano, Producer
Charlie Lexton - Producer
1 Criminal Justice
2 A Place In The City
3 Deep Water
4 Iniquity Worker
5 Perspex
6 Solomon's Blade
7 Flesh And Blood
8 V
9 The Garden Of Earthly Delights
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EXTRAS
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96.4 MB
192-320 mp3
CD & vinyl rips from various sources
Cool Breeze - Acoustic Blues
Cool Breeze - Can't Deal With This (Kid Loops Remix)
Cool Breeze - Can't Deal With This
Cool Breeze (Special Projects) - 27 Years of Solitude
D-Note - Iniquity Worker (Devil's Work Mix)
D-Note - Now Is the Time
D-Note - The Garden Of Earthly Delights (X-Press 2 Radio Edit)
D-Note - Waiting Hopefully (4 Hero Remix)
D-Note - Waiting Hopefully (Faze Action Dub)
Steve Reich - Piano Phase (D*Note's Phased & Konfused mix) from Reich Remixed.
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105 MB
256+ VBR LAME mp3
CD rip from Stepping Stone SI 8506-2
Scans from Discogs.com
Sticking with the Stepping Stone label, here's an early compilation from them, notable for early efforts from a few of today's broken beat and left-field heavy hitters. Some of you will recognise the sample from Tenório Jr.'s "Nebulosa" from his 1964 masterpiece Embalo (also available on Mr. Bongo's Brazilian Beats series) as the source for the first track. Spotters will also easily check the Fela sample ("Everything Scatter") running the Kwaanza Posse's "Wicked Funk."
1 Marden Hill - Hi Jack
2 Ute - In The Meantime
3 A Forest Mighty Black - Fresh In My Mind
4 Kruder & Dorfmeister - Definition
5 Silent Poets featuring Menelik - La Vie
6 Deep Freeze Productions - Sometimes
7 Solar System - Stop It
8 Vibrazioni Productions - Make A Stand
9 Mighty Truth - Heavy Knowledge
10 Kwanzaa Posse - Wicked Funk
11 Nobukazu Takemura - Crescent
Marden Hill's story was covered on yesterday's post, so no need to go into it here. Following them are UTE, who were composed of Ian Dixon, Wayne Eliiott, Joseph (?), Jonathan Lee and Krazy Cool D-Zine. Not a lot of info on these guys, with only Ian Dixon and K.C.D-Z. having credits outside of the group's 2 LPs; the former playing horn on a handful of tracks for acts like Blame and Primal Scream while the latter lent vocals to D*Note's first full-length Babel (more D*Note coming up on Soundological in days to come).
A Forest Mighty Black was the brainchild of Bern Kunz and this track was the B-Side on the first release from a fledgling Compost label. This compilation is the first time their classic track would appear outside of the 12" single format and it has since become a staple of the Acid Jazz/Trip Hop/Broken genres. It also appears on 1998's full-length Mellowdramatic.
Kruder & Dorfmeister should need no intro and this particular song is the lead on their (and their label G-Stone's) debut release G-Stoned (the one with the cover that riffs on Simon & Garfunkle's Bookends).
Japan's prolific Silent Poets enlist the help of French MC Menelik for the title track from their fifth LP Words and Silence. One of the forefathers of a Japanese scene that includes United Future Organization, DJ Krush, Monday Michiru and others, this was one of the first chances for folks in the West to hear them but not the last as SP continues to be a going concern.
Deep Freeze Productions were around for quite a few years but there is a distinct lack of info for the ensemble and songwriting credits on their releases consist of three last names: Sim(m)s/Jones/Belben. The first two names are way too common to dig into and the last one is likely Paul Belben, who had some releases with a similar jazz-heavy style around the same time on Gilles Peterson's Talkin' Loud label.
Solar System only released one full-length, their self-titled debut on Stepping Stone in '96. Basically a duo composed of Chris Standring and Rodney Lee, most of their recorded output is out under their own names or as session musicians for artists such as Jody Watley, Jedi Knight Tom Middleton and 4Hero among others. Their LP is highly acclaimed and comparisons to the Crusaders, Wes Montgomery, Joe Sample and Steely Dan are well-deserved. Anyone sitting on this LP is urged to share!
Consisting of Federico Di Bonaventura with vocalist Laura Piccinelli, Italian team Vibrazioni Productions were active throughout the latter part of the 90s and this track is from their debut Exspressione Globale on Right Tempo Records subsidiary Roots. Their R&B flavoured jazzy neo-soul is heavily comped and they are among the usual suspects on most collections put out by labels such as Acid Jazz, Talkin' Loud, Instinct, etc.
Mighty Truth only put out one LP, 1996's From The City To The Sea on Tongue & Groove. Their tracks are credited to Julian Bates (samples), Alex Gray (keys - UFO, Baby Fox, Dubtribe, King Britt), Willy Wondera (vocals) and Isabel Dunne (cello - Ravi Shankar, Brand New Heavies, Roots Manuva, MJ Cole, Zutons) but they also counted Mike Bennett (drums - Birdhouse, Johnny Blas), Steve Walters (bass - James Taylor Quartet, Kylie Minogue, Pet Shop Boys, Beverly Knight) and Dave Priseman (trumpet, flugel horn - Quiet Boys, Vibraphonic, Mr. Electric Triangle, Akasha) among their numbers.
Kwanzaa Posse, who were comprised of Funk Master Sweat and Keyb Tortora, only released 3 singles on the Flying Records from '91 to '93 and Wicked Funk was their first. Not only the first for them, it was the first Fela-sampled track to get recognition and was released a couple years before Aicd Jazz/Trip Hop took off, so this track was highly influential on the scene. Outside of those singles they've done loads of remix work over the years for a wide variety of artists but moreso for Les Negresses Vertes than others.
Another forefather of the Japanese scene (so "fore" that he's sometimes credited with bringing Hip Hop to Japan due to his DJ efforts in the mid-80s) was Nobukazu Takemura, who went by the monikers Child's View and DJ Takemura for quite a few years but has returned to using his full name. He has appeared continuously on truckloads of electronica compilations for 15+ years (including Royaltie$ Overdue posted recently on Soundological) and is still going strong. He's branched out to include noise/art rock elements in his sound (starting most noticeably with Scope in '99) which has seen him release much of his later catalogue on indie labels Thrill Jockey and Bubblecore as well as his own imprint, Childisc. He still keeps a hand in the selector business, and was responsibe for 2005's outstanding jazz comp Shibuya Jazz Classics: The Nobukazu Takemura Collection.
Pick up this essential piece of electronic jazz/funk/soul history HERE or in two parts HERE (1) (2).
HIJACK
163 MB
320 CBR LAME mp3
CD rip from Stepping Stone 71202
Scans from Discogs.com
EXTRAS
93.5 MB
192+ CBR /256+ VBR LAME mp3
CD & vinyl rips from various sourcesHijacked video from YouTube
Chris Bemand - Producer, Mixing
Mark Daniels - Producer, Mixing
Pete Moss - Producer, Mixing
Ashley Beedle - Producer, Remixing
Bob Boykin - Guitar
Colin Smith - Piano (Electric)
Scott Garland - Saxophone
Simon George - Flute
Matt Lipsey - Flute, Saxophone
Charlie Phillips - Flute, Saxophone
Tony Walter - Trumpet, Saxophone
Gary Hammond - Percussion
Michael McDermott - Bass, Vocals (bckgr)
JC-001 & D-Zire - Vocals
Tony McDermott - Vocals (bckgr)
Andrea Oliver - Vocals
Kevin Saunders - Vocals (Hijack, Get Some In, Uptown Theme)
Vivian Stanshall - Vocals (Bombed On Heavy)
Another seminal acid jazz/trip hop treat from the vaults of Soundological and again with a heavy Ashley Beedle relation. This time we're checkin' Marden Hill and if some of the tracks look familiar on their 1996 debut Hijacked, it's because they had been floating around for years as singles and in the case of "Blacker" showed up on the Ballistic Brothers vs Eccentric Afros Vol 2 as the "Sweet Green Jam Mix." You'll also note the track "Come On" shares a few chord progs with a song by the same name on the Ballistics' first full-length. The connection doesn't quite end there as Chris Bemand, the main thrust behind Marden Hill, contributes bass and keyboards to Rude System and is a member of Black Jazz Chronicles with Beedle and Marc Woolford (you can hear a wicked mix of Beedle tunes covering all of these projects over at Play Jazz Loud).
However, that wasn't really the impetus behind throwing this up. It was actually the result of a great post over at avocado kid's blog 'Lectric Diaspora where he covered some history on one of my favourite acid jazz outfits Corduroy. He wrote they were "the first band that I’m aware of to do the "retro soundtrack to a fake kitschy blaxsploitation/spy movie" thing" which is very true. However, it just further highlights how Marden Hill got lost in the shuffle since the UK combo were critically acclaimed for their preternatural take on the subject much earlier. They were on alternative indie pop imprint Él records (who shared aesthetic similarities with Creation and other boutique labels of the genre) and counted ur-emo artist Momus among their labelmates. As the AMG review says of Cadaquéz (reissued a couple years ago by Universal):
Imagine a wild assortment of '60s incidental soundtrack music thrown into a stew, then played back again on somewhat more modern equipment. That's what Marden Hill did on their 1988 album Cadaquez, several years ahead of when such lounge/jazz/Morricone/surf blends started to come back into fashion.
You can hear a sample of this era over at the Dirk Wears White Sox blog. Although this stuff is more on the late-50s to mid-60s tip, soon the Carnaby Street/Mod/KPM/DeWolfe sound would creep in, which would lead to the 70s soundtrack styles. As the blurb on their record co.'s website says without hyperbole, "in the wake of Marden Hill followed the James Taylor Quartet, Combustible Edison, Air and ultimately Austin Powers for whose films they really really should have written the soundtrack." Right about the time Cadaquéz was put out, Acid House hit the UK and it seems Bemand got with the times, ditched the orchestra chamber pop set-up, took up with a bunch of acid jazz/house DJs/pioneers and then moved into a more electronic production style.
Corduroy come from the same lineage and neighbourhood. They weren't big trailblazers, they just got out there in the public eye earlier with their take on the movement. If you ask me their biggest contribution was being the first of the scene to really give props to Paul Weller and bring back the energy of latter day The Jam and early Style Council sides. That alone is worth oceans of respect and, mixed with their talent and good songwriting, I think that's what propelled them to the next level and a huge reason why I still check them as one of the fathers of the 90s jazz and funk revival.
All of this to illustrate the fact Bemand has a purebred pedigree going way beyond a few singles which found their way onto almost every comp series in the day. It also a reason why this LP might sound dated - most of the songs reach back to 3 years or so earlier. In fact, a good portion of these tracks appeared on a full-length Japanese-only realease called Sixty Minute Man in 1993 and their LP on Delancey Street from the previous year, Blown Away!, is the same assortment of tracks lacking a few from Hijack but with the addition of "Uptown Theme." That track is included in the Extras file, along with a couple remixes and B-sides plus the tracks I had handy credited to his other alias Beamish of Beamish & Fly (Kevin Saunders).
This one definitely stands the test of time. No scans because I donated it last fall to my mate, master Andy Williams who's been putting it to "good" use, having played Harlem River Drive on The Goods Radio a few weeks ago. If you've enjoyed the Ballastic Brothers or Mo' Wax material we've posted previously, Soundological highly recommends you avail yourself of these classic sounds.
Hijack
1 Come On (Ashley Beedle Remix)
2 Hijack
3 Shag
4 Honey Dipped
5 Bombed On Heavy
6 Harlem River Drive
7 Theolonius (Ashley Beedle Remix)
8 Get Some In
9 Evolution
10 Into The Future
11 Up In Smoke
12 Melt On
13 Blacker
14 The End
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Extras
9 Lazy 9 - Train (Marden Hill Remix)
Beamish & Fly - Dozy Fuckers
Beamish & Fly - NY Shakedown
Beamish & Fly - Spin On It (Spun Out Mix)
Beamish & Fly - Stoaked
Brand New Heavies - Spend Some Time (Sweeny Club Mix)
Marden Hill - Bardot
Marden Hill - Dub Melt
Marden Hill - Sugarplums
Marden Hill - Uptown Theme (Michael McDermott Remix)
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114MB / 100MB
320 CBR LAME mp3
CD rip from Mo' Wax MW 003 CD
This is the release that made the world sit up and take notice of wunderkind James Lavelle and his take on abstract hip hop and club sounds, around which he built his label Mo' Wax. Although the imprint was already getting some enthusiastic ink in the UK for its singles, this was the debut compilation of Mo' Wax material and the first most people had a chance to hear DJ Shadow on a widespread basis. For me, it was the two tracks by La Funk Mob that took me on first listen and since then I've been a faithful fan of Zdar, Boombass and De Crecy through all their incarnations. As far as I'm concerned, they're among those who sit at the head table in that elite club of producers who can blend accessibility, weirdness and cheese in the right proportions.
On the whole, it's a stronger comp than Headz or Headz2 with more songs rather than soundscapes, a greater sense of groove and it's definitely on a jazzier tip than Mo' Wax's subsequent collections. In fact, this holds up better than most documents of this period in the trip hop/acid jazz scene and doesn't sound nearly as dated as you would think, which says volumes about Lavelle's vision and taste at the ripe old age of 20! Unfortunately, the cover disappeared long ago back in the DJing days so I skipped the scans (but if you're OCD and really want a scan of the discs themselves and the tray insert, I wouldn't want you to have a breakdown so just leave a request in the comments and I'll oblige). If you like this then stay tuned for more from Mo' Wax and labels like Pussyfoot, Delancey Street, Ultimate Dilemma, Cup of Tea and Wall of Sound in the weeks to come.
CD 1
1-01 DJ Shadow / In Flux
1-02 RPM / Food Of My De-Rhythm
1-03 DJ Krush / Slow Chase
1-04 Palm Skin Productions / In A Silent Way
1-05 DJ Takemura / Harmonium
1-06 Palm Skin Productions / Like Brothers
1-07 The Federation / Life So Free
1-08 Step / If
CD 2
2-01 RPM / Sorti Des Ombres
2-02 Bubbatunes / This Is Just A Dance
2-03 Marden Hill / Come On
2-04 La Funk Mob / La Doctoresse
2-05 Monday Michiru / Hear Between The Silence
2-06 The Federation / Rusty James (Portishead Remix)
2-07 La Funk Mob / Motor Bass Get Phunked Up
2-08 Palm Skin Productions / Spock With A Beard
If you see this seminal double-disc in a store for less than $50, CD or vinyl, consider yourself lucky and snatch it up. In the meantime and in between time, Soundological presents disc one HERE and disc two HERE.
Ballistic Brothers vs The Eccentric Afro's Vol 1boomp3.comBallistic Brothers vs The Eccentric Afro's Vol 2boomp3.com
London Hooligan Soulboomp3.com
boomp3.com
Extrasboomp3.com
When I first heard The Headhunters' being cut up on "Blacker" back in '94, I immediately fell in love with the Ashley Beedle sound. They were a lot like the early Ninja Tune DJ Toolz and DJ Food albums but had a deep groove, were more straight-forward and not as moody and abstract. In other words, not only great for the crate but perfect summer music for patios, terraces, verandas, porches, yards and stoops which is why Soundological's give ya the real pizzoop with these long out-of-print initial efforts from Beedle's Ballistic Brothers crew.
They really fleshed out their sound on London Hooligan Soul, with Uschi Classen making a larger contribution as well as the addition of Steve Lewis' vocals and Amy Simmons providing some flute as well. Here they stretch out into ska, dub, drum 'n' bass, brazillian and more, with less reliance on samples and more on tunesmithy. In fact, this a perfect distillation of musical mindset held by the Brit kids who had moved through the Northern Soul, Two-Tone Ska, Hip Hop, Acid House, Acid Jazz/Trip Hop and Hardcore/Jungle eras. It may take a couple listens to grow on you but this album is highly regarded as a seminal classic in the UK scene for a good reason.
AMG Biography by Sean Cooper
The Ballistic Brothers are something of a quintessential London post-acid house outfit. Combining the production talents of some of the most popular figures on the progressive house and acid jazz scenes (Ashley Beedle of Black Science Orchestra, Dave Hill of Nuphonic Records, and house-tech duo Rocky and Diesel), the Ballistics pursue a hip-hop/house/jazz/soul crossover that tends to spell "party" no matter where it's played. Releasing most of their initial material on London club staple Junior Boys Own (including their 1994 debut London Hooligan Soul), the group established the Soundboy label in 1996 to release the follow-up, Rude System. The album's semantic-cum-stylistic switch came via Dave Hill's trip to Jamaica just prior to recording the album, an inspiration that also led the group to pursue a remix project (similar to Mad Professor's take on Massive Attack's 1995 album Protection) at Bob Marley's Kingston studio. Group members' individual projects also include X-Press 2, Free Soul, Low Pressing Records, Blacker, Ill Sun Records, Yellow Sox, and the Uschi Classen band.
There's a pretty thorough Beedle bio as well as a cool five-minute video interview with Ashley, Rocky & Diesel reminiscing about their old skool days over at Dancetracks. Follow the links below and you can judge for yourself if Ashley's blowin' smoke out his whazoo when he says of LHS and Rude System: “To this day,I still think those two albums are brilliant.” Ballistic Brothers vs The Eccentric Afro's Vol 1
58.5 MB
320 CBR LAME mp3
CD rip & scans from Delancey Street Records DSTCD001
1 NYX2
2 Gangstalene
3 Uschi's Groove
4 And It Goes Like This
5 MCF 2870
6 Blacker
7 Valley Of The Afro Temple
8 Grovers Return
Sharebee RSBallistic Brothers vs The Eccentric Afro's Vol 2
94.1 MB
320 CBR LAME mp3
CD rip & scans from Delancey Street Records DST005CD
1 Delancey Street...The Theme
2 Unhooked And Lost
3 Save The Children
4 Hustler (You've Been Had)
5 Jam Jah
6 Divine Fact (Blacker 2)
7 Goodvibes...Goodnight
8 Anti-Gun Movement
9 Blacker ('94 EQ)
10 Blacker (Marden Hill Sweet Green Jam Mix)
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London Hooligan Soul
138 MB
320 CBR LAME mp3
CD rip & scans from Junior Boy's Own JBO CD6, vinyl rip from JBO 31, CD rip from JBO 34 CDS
As a special treat exclusively for readers of Soundological, the version of London Hooligan Soul offered here also includes the B-Sides to the two 12" singles from the LP.
1 Portobello Cafe (Vocals - Steve Lucas)
2 Come On
3 Soho Cab Ride
4 I'll Fly Away (Vocals - Steve Lucas)
5 Jah Jah Call You
6 Mark's Lude
7 I Don't Know
8 Sister Song (Flute - Amy Simmons)
9 A Beautiful Space
10 Steppin' Into Eden (Flute - Amy Simmons)
11 Peckings
12 Uschi's Lament
13 Mystery of Ballistic
14 Step Into Eden (Rollin' Drum & Bass Mix)
15 Come On (Wax Doctor's Simon Templar Remix)
16 Come On (Luke Slater Remix)
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Extras
78.4 MB
Various
CD rips, vinyl rips and downloads from various sources
Arakatuba - Pelé (Remixed by Ballistic Brothers)
Armand Van Helden - Funk Phenomena (Ballistic Brothers Phenomenal Funk Mix)
Ballistic Brothers - Perfect Day
Ballistic Brothers - Prophecy Reveal (Night Time Is The Right Time Mix)
Ballistic Brothers - Prophecy Reveal
Brand New Heavies - You've Got a Friend (Ballistic Brothers Remix)
D-Note - The Garden Of Earthly Delights (Ballistic Barrio Boom)
United Future Organization - Doopsylalolic (Ballistic Bros Indo Fuse Per Version)
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If you like this, Soundological also has a Black Science Orchestra post here.
RÉMINISCENCE QUARTET
Psycodelico
320 CBR LAME mp3
CD rip from Instinct 324
Christophe le Friant (Bob Sinclar, Chris the French Kiss) used the nom de plume "DJ Desmond" on this prescient acid jazz release with heavy brazillian overtones put out in North America through the Instinct imprint in '95. It was a sample-based album a bit more in the Sugarhill or Dr. Dre mode, where musicians recreate the sample (er...interpolate) to avoid clearance hassles and licensing costs. A couple tracks are unfinished and a little noodly more than anything but overall the instrumental and vocal soloists are used to great effect.
This is also the album that propelled veteran singer Salomé De Bahia into international club consciousness. The other vocalist, Nancy Danino, continues to work in the house, broken and downtempo scenes as well. Francis Poulet remains a fixture in house, working mostly as keyboardist with Sinclar, MAW and others A-List names. Flautist and sax player Jallier is still laying down hooks for hip hop in the Paris urban music scene while Mario "Aspirina" Jauregui, a well-respected master of the Cuban Batá, still appears on many recordings spanning genres and also continues to work with le Friant. Cellada looks to be tickling the ivories in small combos but there's not much out there on him. Considering what I''ve heard about the Paris jazz scene, there's probably a lack of info cuz it looks like that's where he's at. Briffaux also goes by the moniker "Brifo" and his creative and funky fingers continue to be all over house, dub and downtempo efforts over the last 15 years.
For some reason this was never reissued by Instinct, likely due to the copyright/publishing/licensing agreement with le Friant's Yellow Productions although that doesn't explain why the Yellow LPs haven't been either. These songs were basically culled from their rare first LP, 1994's Ritmo Brasileiro, with a few that would pop up five years later on More Psycodelico.
DJ Desmond - Scratching, Programming, Producer, Sampling, Beats
Laurent Briffaux - Bass
Claudio Cellada - Fender Rhodes
Sebastien Jallier - Flute, Saxophone
Mario "Aspirina" Jauregui - Percussion
A. Kurt - Guitar
Francis Poulet - Trumpet
Salomé De Bahia - Vocals (Roda Mundo, Onde Anda O Meu Amor)
Nancy Danino - Vocals (Psycodelico, Un Premier Jour Sans Toi)
1 Peace Of Mind
2 Onde Anda O Meu Amor
3 Injury Time
4 Batucada De Carioca Pt 2
5 Un Premier Jour Sans Toi
6 Inspiration
7 Roda Mundo
8 Saudade
9 Psycodelico
10 After Hour
This album flies so far under the radar, the best cover pic I could root out was a whopping 200x200 but I did see a whack of used copies floatin' around the world just waiting to be rediscovered. This under-rated album has aged exceptionally well but remains unheard by most due to its scarcity. We'll gladly pull this if it gets reprinted but until then, Soundological readers can check it out HERE or maybe HERE.
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