The Harry Partch Collection is a set of four individual CDs that were originally released by CRI in 1997 and reissued by New World Records in 2004. Volume 2 features two works, the first of which, The Wayward, takes Partch’s speech-music experiments of the 1940s and ’50s to a whole new level; and the second, And on the Seventh Day Petals Fell in Petaluma, which set a new high water mark for his instrumental writing in the 1960s.

The Wayward is a collection of four works that chronicle the trials and tribulations of hobo life that Harry Partch experienced during the Great Depression era of the 1930s. Composed in 1943 and revised in 1955, the first, “U.S. Highball,” is one of my favorite Partch pieces of all time. A perfect merger of avant garde music and pure Americana, this epic, 25-minute musical roller coaster recounts an actual cross-country railroad trip Partch himself made from San Francisco to Chicago. A prelude that introduces each of Harry’s microtonal plectra and percussion instruments is, in and of itself, simply astonishing and exotic-sounding as all get-out. Then comes the work proper, in which various notes that Partch jotted down during the trip are brought to vivid life: hilarious snippets of graffiti, overheard conversations, flop house signs, railroad speak and town / state names distorted by whimsy (“Leaving Colfax, Califor-nee-ax!” and “Leaving Council Bluffs, I-o-wuffs!” for example). Just the mere thought of this piece makes me smile and laugh. It’s a wild, jarring, forward-rolling-with-occasional-melancholy-moments masterpiece that will charm your head off if you give it half a chance. Crazily enough, a 1958 performance was even filmed and is available on DVD!

As a reprieve from the rollicking “U.S. Highball,” a short, droning, cloud o’ melancholy known as “San Francisco,” which was composed in 1943 and revised in 1955, presents to the attentive listener one of Partch’s strangest, wooziest dreams that recounts the cries of newsboys at a street corner on a fog-filled night in the 1920s. Then the composer reads “The Letter,” which was composed in 1943 and revised in 1972, written by a hobo pal named Pablo in Cincinnati, Ohio in the middle of the great depression in 1935. “Barstow,” which was composed in 1941 and revised in 1968, buttons up The Wayward with a set of eight inscriptions from a highway railing in Barstow, California that Partch jotted down in 1940 and set to music. This work is a perfect example of speech music in which the instruments mimic the sound of the vocal inflections. The most memorable line: “Go to 530 East Lemon Avenue in Monrovia for an easy handout, gentlemen.”

Moving on into the 1960s, we encounter And on the Seventh Day Petals Fell in Petaluma, a longform, 35-minute piece that represents the apex of Partch’s instrumental efforts. Composed between 1964 and ‘66, it takes rhythmic complexity through the roof–especially in some of the later verses, when an array of ultra-complex polymetric rhythms invade your head like a dozen different musical viruses. This work is also a showcase for all of the composer’s 22 instruments, six of which were built since 1960, as well as a study for his masterwork, Delusion of the Fury. Professionally recorded–the instruments ring through loud and clear–and released on CRI, Petals was the first Partch work to enjoy a wide release on a commercial label. It’s also worth noting that LP brandished what is is merely one of the most attractive album covers of all time.

Label: New World Records Catalog Number: 80622-2 Format: CD Packaging: Jewel case Tracks: 5 Total Time: 76:23 Country: United States Released: 2004 More: American Mavericks, Information Center, Last.FM, Lovely Music, Newband, Official, Ubu Web, Wikipedia, Yale, YouTube

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Harry Partch (1901-1974) merely succeeded in realizing the most perfectly constructed, personal musical universe of the 20th Century. Shunning twelve-tone equal temperament—which has dominated Western music for well over a hundred years—he formed his own 43 tone scale realized through an antiquated pure tuning system known as Just Intonation. Harry then built his own strange, sculptural instruments to realize his exotic scores. Over several decades, he meshed this otherworldly-sounding music with dance and drama into what he called “corporeal” presentations, in which these three elements are fully integrated into a powerful, transporting whole. None of them were omitted or relegated to the background, as in traditional stage plays or classical concerts.

The Harry Partch Collection is a set of four individual CDs that were originally released by CRI in the mid-1990s and reissued by New World Records in 2004. Volume 1 features three works that document a time period in the 1950s when Partch was moving away from his early speech-music phase to a more percussive-based sound. Dating from 1949-50, the Eleven Intrusions are a collection of very quiet, sparse works for instruments and intoning voice. Along with “U.S. Highball,” they are my favorite Partch music with vocals. The first Intrusion, “Study on Olympos’ Pentatonic,” employs the Harmonic Canon and Bass Marimba to usher forth a microtonal yet oriental feel. “Study on Archytas’ Enharmonic” is similar, but more subdued and somber. Both pieces are atypically simple for a Partch composition. “The Rose” and “The Crane” offer up some odd microtonal glissandos via the Adapted Guitar II as the Diamond Marimba makes an appearance and Harry intones some really forlorn poetry.

“The Waterfall” produces a slightly more upbeat mood, while “The Wind” brings it back down with a dissonant outburst: “I am the lonely wind of night. I am the spent sea’s bitter foam. I am drifted about as on the sea. I am carried by the wind as if I had nowhere to go.” True to its name, “The Street” describes somber street scenes: “Down Maxwell Street where the prostitutes stand in the gloom.” “Lover,” “Soldiers–War–Another War” and “Vanity” bust out with some fancy Diamond Marimba and Adapted Guitar slide work, and introduce the Cloud Chamber Bowls, which get another lively workout to produce an otherworldly percussion effect on “Cloud Chamber Music.” Finally, the The Adapted Viola, Adapted Guitar and Diamond Marimba end the cycle with a woozy lament. When listened to as a whole, the Eleven Intrusions easily contain some of the most melancholy music ever committed to tape. They were originally released on a set of five 78 rpm records that are so rare, I’ve seen ‘em appear on eBay only once in the past 10 years. (They sold for the tidy sum of $1,500.)

Hailing from 1952, Plectra and Percussion Dances is a lengthy, near hour-long work in three parts. “Castor and Pollux” opens up this can of worms with Harry’s first-ever instrumental piece. “Castor” displays a complex dissonance, while “Pollux” is much more catchy and propulsive. “Ring Around the Moon” is “a satire on the world of singers and singing, music and dance; on concerts and concert audiences.” Brandishing a pastiche of funny, nonsense phrases all strung together, it’s pretty wacky and all over the place. With its difficult, meandering atmosphere, “Even Wild Horses” is very tough to get into. This piece can challenge even the most hardened Harry Partch fanatic, which is a perfect way to end Plectra and Percussion Dances. This work was originally issued as a trust fund edition in the early 1950s and got reissued several times with different artwork in subsequent years on Harry’s own Gate 5 label. 1955’s “Ulysses at the Edge” closes up the this CD by combining regular instruments like sax with Partch’s, which is really unusual and funny to hear. The Boo and Diamond Marimba really get a workout on this track.

Label: New World Records Catalog Number: 80621-2 Format: CD Packaging: Jewel case Tracks: 26 Total Time: 74:05 Country: United States Released: 2004 More: American Mavericks, Harry Partch Information Center, Innova, Last.FM, Newband, Official, Wikipedia, Yale, YouTube

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Not to be confused with a British mother or a corpse wrapped up in gauze, each otherwise known as Mummy, Gordon Mumma is a composer–mostly of electronic music–who got his start in back in the 1960s in Ann Arbor, Michigan. He co-founded the Cooperative Studio for Electronic Music and the legendary ONCE Festival, then went on to play in the ranks of the Sonic Arts Union and the Merce Cunningham Dance Company. Over the decades, Gordon has also worked as a music professor at many universities.

Electronic Music of Theatre and Public Activity is a 2005 CD that contains works spanning from 1964 through 1980, during the classic live performance / magnetic tape era. The nuclear war era-inspired “Megaton For Wm. Burroughs” sounds just like its title suggests: A shrill, corroded, electronic drone–wavering yet insistent–slowly rises in volume to a deafening level then segues into a quiet, dark basement flooded with disembodied voices and dimly-lit ambience. This sonic salad is then sprinkled with all kinds of lively croutons: Prepared piano clatter, electronic chirping, a raging feedback festival, delayed space whips, low corroded drones, panning airplanes, war voices, battleground sounds and snippets of orchestral music. A lone jazz drummer tidies up this major mess with a gentle beat on his kit.

An early piece to feature live performers and a digital computer interacting which each other, “Conspiracy 8″ starts out with blasts of shrill feedback clatter, repetitive raspy cries and all kinds of circuit whistle, then moves on into wavering drones and a quavering musical saw that elicits laughter from the crowd. “Cybersonic Cantilevers” is an excerpt from a day-long electronic music installation at the Everson Museum in Syracuse, New York featuring the imput of visitors. It’s chock-full of garbled electronics, pop music distorted beyond recognition, 1940s gangsters, flanged repetitive rhythms, and incredble ambient space drones. “Cirqualz” takes snippets of orchestral circus music and runs it fast and slow and forward and backward–ending with a nice, funny cartoon tire screech and car crash that wraps up this CD in quite a raucous fashion.

Label: New World Records Catalog Number: 80632-2 Format: CD Packaging: Jewel case Tracks: 4 Total Time: 65:47 Country: United States Released: 2005 More: Blogspot, Last.FM, Lovely Music, Ubu Web, Wikipedia, YouTube

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Alvin Lucier is a composer of experimental music who has been working since the 1960s in a solo setting, and with such cutting edge groups as the Sonic Arts Union, which also claimed as members fellow ’60s electronic music pioneers (and your basic, everyday legends) Robert Ashley, David Behrman and Gordon Mumma. Lucier mainly works with materials and processes that investigate acoustic phenomena and human perception of sound. He has been teaching at Wesleyan University since 1970.

Wind Shadows is a double-CD collection released in 2005 containing mostly minimal works from the late 1980s and ’90s that joins live instruments with the humble oscillator to investigate a series of beat frequencies. Opening disc one, “In Memoriam Stuart Marshall” pits a bass clarinet against a low-pitched pure wave oscillator. Belting out some super low-pitched drones, the two switch back and forth between matching unison and going slightly off kilter to produce uncanny beating effects. Next, a clarinet, trombone, violin, cello and double bass blat out single notes into a digital reverb unit set to various lengths to mimic “40 Rooms.” Similar to track one, “In Memoriam Jon Higgins” features a slow sweep pure wave oscillator that proceeds from the lowest to the highest notes of an accompanying clarinet for some slow and fast beatings. “Letters” shuts down disc one with a bunch of invigorating dissonant piano pound sprinkled with woozy clarinet, violin and cello for quite a homely slice of ear candy.

“Q” opens up disc two with an array of deep, resonant, electronic drones that sound like a fleet of taxi cabs crossing a suspension bridge while a squadron of bombers soars overhead. In the five parts of “A Tribute to James Tenney,” a double bass and an oscillator move together from high-pitched to super low-pitched string scraping and beating drones. Meanwhile, over in the “Bar Lazy J,” a clarinet and trombone engage in some held tones and silences. A cello, piano and viola offer up some sublime, shrill, microtonal drones during “Fideliotrio,” which sounds kind of like a cross between Lois Vierk’s “Go Guitars” and a Tony Conrad screechfest. Finally, the title track closes the whole set with another trombone and oscillator beat. I reccomend Wind Shadows for anyone into subtle sonic investigations that result in droneworks that are much more somber than usual.

Label: New World Records Catalog Number: 80628-2 Format: 2-CD Packaging: Jewel case Tracks: Disc 1: 4, Disc 2: 9 Total Time: Disc 1: 59:29, Disc 2: 78:12 Country: United States Released: 2005 More: Discogs, Forced Exposure, Last FM, Lovely Music, Official, Perfect Sound Forever, Scaruffi, Ubu Web, Wikipedia

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Alvin Curran has been working since the 1960s as both a composer and a performer of improvised music. In 1966, he was a founding member of the legendary Musica Elettronica Viva, who along with England’s AMM, were one of the very first free improv groups. Originally recorded in 1984–but not released on CD until 2004–Maritime Rites is a collection of masterful works for live instruments and field recordings from the United States Eastern seaboard. During “World Music,” which opens disc one, Leo Smith burps, blats, coughs up shrill spittles and holds up some held tones high into the sky on the appropriately named seal horn in the company of foghorns and boat horns.

Pauline Oliveros melds her barely audible ornate accordion runs on “Rattlesnake Mountain” as the only female lighthouse keeper in the U.S. speaks above a phalanx of whistle buoys, three-tone gongs and foghorns. Back down on the “Coastline,” Steve Lacy laces his rather trad-sounding melodic sax through layers of overdubbed foghorns while some Coast Guard guys tell stories. Clark Coolidge reads poetry over foghorns in “Mine” while his dad Arlan tells stories. Dense layers of spoken word is the result. “Improvisation” finds Joseph Celli offering up some high-pitched cries and shrill wheedling on reeds, English horn and mukha veena as plovers, loons, peepers, frogs and a bell buoy sing along. Over on the “Soft Shoulder,” Jon Gibson avoids blocking traffic as he shuts down disc one with a little melodic soprano sax built up into layers of Terry Riley-like delay with foghorns, and splashing water.

Malcom Goldstein busts open disc two with some incredibly fervent, minimal violin sawing and raspy string scraping during “From Center of Rainbow, Sounding.” An old salt joins in to tell stories as a gaggle of bell buoys, foghorns, seals and eider ducks go off in the background. This track is simply music at its best. The second track in this collection to brandish the title “Improvisation” finds George Lewis producing weird animal cries on trombone as Anthony Braxton repeatedly recites five words and Captain Ken Black gives a tour of the Shore Village Museum in Rockland, Maine. Joining them are a deep, two-tone foghorn, a whistle buoy, and various and sundry motor boats, deep animal moans, oinks and squawks. This track and the following one are easily the most experimental-sounding of the bunch.

Next in line, John Cage recites the five words “Ice, Dew, Crew, Food, Ape,” which is also the title of this piece. His words are layered with each other and a really deep foghorn, a ship horn, a lighthouse horn and a mysterious, distant quivering sound. The grand finale, “Maritime Rites,” was composed by Alvin Curran all by himself. This 23-minute epic starts out sparse with bell buoys, a chorus of ship horns, splashing water, and ever-thickening foghorns mixed all over the stereo field. Further along, Alvin’s chanting really sets the piece aloft, as the Brooklyn Bridge offers up a set of insect drones and a realm of wispy ambience takes over. A myriad of horns eventually returns as Bill Bonyun plays bandoneon and sings a sea shanty called “Rolling Home,” which perfectly draws to a close this insanely evocative album. It’s no wonder that Maritime Rites was one of my top picks back in 2004.

Label: New World Records Catalog Number: 80625-2 Format: 2-CD Packaging: Jewel case Tracks: Disc 1: 12, Disc 2: 8 Total Time: Disc 1: 74:36, Disc 2: 64:04 Country: United States Released: 2004 More: Discogs, Forced Exposure, Last FM, New Albion, Official, Other Minds, Wikipedia

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James Tenney (1934-2006) was one of the more important yet obscure composers of the second half of the 20th Century. He studied most notably under Carl Ruggles and Edgard Varèse at places like The Juillard School of Music, Bennington College (B.A. 1958) and the University of Illinois (M.A. 1961) It was at U.I. where he attended what were probably the first courses in electronic music anywhere, instructed by Lejaren Hiller. Right after that, Tenney, along with Max Matthews at Bell Telephone Laboratories, was the first composer to significantly employ the computer as a composition aid and sound generator. He was also co-founder and conductor of the Tone Roads Chamber Ensemble in NYC from 1963 to 1970 and performed in the ensembles of Harry Partch, John Cage, Steve Reich and Philip Glass. Tenney is also the author of numerous books and articles on acoustics, perception and form in music. He taught at The Polytechnic Institute of Brooklyn, California Institute of the Arts, University of California and York University in Toronto.

Released as a double-CD set in 2004, the Postal Pieces–most of which make their recorded debut here–were composed by Tenney in the late 1960s and early ’70s. They “are a remarkable series of eleven short works printed on postcards. Each card contains a complete if minimally stated work to be performed by instrumentalists. These pieces elucidate to a large degree some of Tenney’s bedrock compositional ideas. Each is a kind of meditation on acoustics, form, or hyper-attention to a single performance gesture.”–Larry Polansky. “Maximusic” opens disc one with a gentle cloud of quiet cymbal wash that floats right in front of your face for several minutes–only to be suddenly and rudely interrupted by a loud rhythmic attack on drums and percussion, which ends with a final gong hit then reverts back to the opening atmosphere. “Swell Piece” picks up where the first track left off with some string and woodwind drones complete with stop-and-start silences. If you’re a 1950s teenager in a malt shop, you might refer to it as a really swell piece. “A Rose is a Rose is a Round” offers the only real sonic deviation from the rest of the album, as it brandishes layers of repetitive, acapella, melodic singing.

“Beast” continues the collection’s moody atmosphere with a cave-deep contrabass drone. This track really is a beast! “Swell Piece #2″ brandishes rising and falling and stopping and starting trombone tones, while “Having Never Written a Note For Percussion” starts out quietly with a gong wash that builds to super loud, raging frenzy then mellows out again. “Koan” features a woozy, ascending, minimal viola rhythm, followed by “For Percussion Perhaps, or…(night), which closes the disc with more quiet, ebbing drones via trombone and electronics. “Swell Piece #3″ openes up disc two with some extended trombone and held vocals approprately dedicated to La Monte Young. As its title suggests, “Cellogram” saws away with an array of dizzy cellos that rise and fall like the sun, or a roller coaster. The 43-minute and deeply meditative “August Harp” closes out disc two with a seemingly never-ending set of single notes plucked from a harp. Just as important as Tenney’s groundbreaking 1960s computer music, which can be heard on Selected Works 1961-1969, the Postal Pieces are a previously unknown monster minimal artifact ripe for discovery.

Label: New World Records Catalog Number: 80612-2 Format: 2-CD Packaging: Jewel case Tracks: Disc 1: 8, Disc 2: 3 Total Time: Disc 1: 71:45, Disc 2: 60:50 Country: United States Released: 2004 Related Artists: Larry Polansky More: Discogs, Forced Exposure, Frog Peak, Post Classic, Some Assembly Required, Wikipedia

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Morton Feldman-influenced fence post-minimal composer and Cal Arts graduate John Luther Adams has been at it since the mid 1970s. Composed in 1998 as a memorial to his mother, who passed away in 1996, and released in 2003, In the White Silence cycles through numerous sections of austere, minimal, orchestral music. From simple, melodic string plucks accompanied by pristine, sparkling vibes, bells and celesta to lyrical violin passges to the most fogged forehead drones imaginable, I can think of no better gift from son to mom. So, why don’t you buy a copy of In the White Silence for yourself? It’s the gift that keeps on giving!

Label: New World Records Catalog Number: 80600-2 Format: CD Packaging: Jewel case Tracks: 19 Total Time: 75:15 Country: United States Released: 2003 More: Discogs, Forced Exposure, Last.FM, Official, Wikipedia

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Within this silly little realm we call reality, Terry Riley is simply one of the most awesome musicians to ever play a note. Every time he touches an instrument or opens his mouth to sing, magic fills the air. Terry came to prominence in the 1960s as an early minimalist with his groundbreaking compostion, In C, and lesser-known but even greater works like Reed Streams, All Night Flight and Olson III. He has remained very active in the music scene throughout every decade since.

On Assassin Reverie, a CD released in 2005, Terry teams up with a sax outfit called the ARTE Quartet, and the results are somehow refined, riotous and raucous all at the same time. First up is a three-section, 20-minute piece called “Uncle Jard.” Part one opens the disc with a very pensive, meditative feeling, full of sax drones and the instantly recognizable presence of Terry, whose raga singing is as deep and resonant as his harpsichord playing. Part two veers in the opposite direction with an upbeat, honky-tonk feel that harks back to the early 1960s, when Terry played ragtime piano at a San Francisco saloon. Part three closes up “Uncle Jard” with a collection of sprightly, minimal sax riffs.

The title track is another sprawler that clocks in at 19 minutes. It starts out mellow with a lot of complex sax interplay that gradually rises into a keening climax, followed by an extended eight-minute noise breakdown full of screaming raspberry skronk, rhythmic echo pounding and sounds from the battlefield. After the violence subsides, a storm of skittering sax appears, then falls back into a mellow melody. I’ve never heard such chaotic music come from the mind of Terry Riley. Not surpsingly, it was composed in 2001, and was inspired by the events of September 11. Closing up the disc is “Tread on the Trail,” which hails from 1965, a year after the premiere of In C, and with its ever-looping, loping horns, it does indeed sound like a version of that piece for sax.

Label: New World Records Catalog Number: 80558-2 Format: CD Packaging: Jewel case Tracks: 5 Total Time: 48:17 Country: United States Released: 2005 More: The Cortical Foundation, Forced Exposure, Last.FM, Lovely Music, New Albion, Official, Other Minds, Wikipedia

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Born in 1939, Barbara Kolb is an American composer of challenging classical music. Case in point: The title track of this ancient 1992 CD serves up a nearly 20-minute helping of dissonant avant garde classical chamber orchestra music layered with quiet electronic drones via computer generated tape. Here and there, the listener encounters starts and stops; and abrupt, urgent, repetitive rhythms with a playful xylophone that frolicks around the sound field without a care in the world. Can you say, “Sustained dreamworld?” The second track, “Extremes,” ironically simplifies the proceedings with a sprightly flute and droning cello. Not too far along, both get all melodic on your ass, then seque out onto a dead end street full of odd, cantankerous riffs.

Moving on to track three, we find “Chromatic Fantasy,” in which a narrator reads a surreal poem by Howard Stern, who is obsessed with a beautiful woman wearing a vibrant purple dress. Brandishing an amplified alto flute, oboe, soprano sax, electric guitar and vibes, this track takes an extended detour into The Twilight Zone. Looks like Barb saved the best for last. The final track, “Solitaire,” conjures up an expansive, mysterious space with deceptively simple ingredients: a lone, melodic piano and spooky vibes. Llike a chopped-up Chopin concerto from the 19th century, it floats effortlessly through the inky blackness of outer space deep inside your head. The dreamy soundworld of “Solitaire” is nothing short of an avant garde classical classic.

Label: New World Records Catalog Number: 80422-2 Format: CD Packaging: Jewel case Tracks: 4 Total Time: 53:03 Country: United States Released: 1992 More: Amazon, Amazings, Boosey and Hawkes, Discogs, Wikipedia

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Five Works For Voices, Instruments and Electronics is a CD released in early 2002 courtesy of our fine, feathered friends at New World Records. The works by Kenneth Gaburo contained on it span from 1957 to 1974, and offer much goodness for lovers of strange and gargled sound waves of the vintage variety. “Antiphony IV (Poised)” (1967) is another in a long line of avant-garde classical / electronic crossovers from the later classic era—pitting lone vocal sounds in the left channel and dark, electronic swirls in the right against (or with) a lot of quirky instrumental blat in the soft, chewy center. In “String Quartet In One Movement” (1956), “Sometimes all four instruments make one line, sometimes they split into four completely distinct entities; most often they are balanced into exquisitely formed hierarchies, with one held note on one instrument being temporarily in the foreground—only to be immediately replaced by a fragment of another line in another instrument as the focus of attention. It’s almost as if the music were woven, rather than composed—each line existing both as an object on its own and as part of a larger making of musical gestures.”

“Mouthpiece: Sextet For Solo Trumpet” (1970) contains almost six minutes of rather humorous-sounding mouth farting, spitting, gurgling, popping, hissing…and even a little actual trumpet playing from Jack Logan. “Unlike most trumpet music, where the phoneme ‘t’ or ‘k’ is used to articulate the trumpet, here the trumpet is used as a filter for every phoneme the voice is capable of generating. Phonemes are spoken or sung through the trumpet, and sometimes they are used in playing to get other phonemes that result when processed through the trumpet as filter.” “Antiphony III (Pearl-White Moments)” is even more fried than its child, “Antiphony IV.” Austere, alien activities charge the air on a barren, lysergic world as electronically-altered, vocal soundscapes melt your face off. “Once again, a poem by Virginia Hommel provides the basis. Here, however, it is articlated contrapuntally, one word at a time, by both the chorus and the tape. Each word is heard—sometimes spoken, sometimes whispered, sometimes shouted, sometimes electronically modified on the tape, in the order presented in the poem. As well as that, though, words are fragmented, displaced, referred to each other, and connected with each other, and text is painted with sound differently for each word.”

The best is saved for last on this CD, with “The Flow Of (U)” (1974)—a long web of cradling minimalism delivered via “one note sung by three singers for 23 minutes.” Barely (and very obscurely) released before in excerpt form on a Musicworks CD, this is the CD premiere of this entire piece, perfectly primed for your bedroom. Turn out the lights, lay down and close your eyes to allow another previously unknown monster of minimalism to billow throughout your room. P.S. The nice beating is thoroughly entrancing.

Label: New World Records Catalog Number: 80585-2 Format: CD Packaging: Jewel case Tracks: 5 Total Time: 66:32 Country: United States Released: 2002 More: Discogs, Forced Exposure, Last.FM, Official, Tokafi, Wikipedia

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