The Titans of Saturn: Leadership and Performance Lessons from the Cassini-Huygens Mission
I found this book enlightening, more in the areas of the management of complex tasks, with diverse groups of contributors. I highly recommend this book on those grounds, in fact I think the target audience is well outside of the subject matter and needs a more wide publication within the circles of economic thought. Maybe capitalism and socialism as two intractable and exclusive positions of economic thought is woefully outmoded and requiring a more open minded look at how the principles can be re-aggregated to serve the common good of society. A marvelous testament to human endeavor with a great deal to offer in the orchestration of similar efforts...
Editorial Review :: This story behind the brilliant success of the Cassini-Huygens mission to the planet Saturn and its moon Titan details a monumental achievement that took scientists, engineers and government agencies from eighteen countries over 25 years to accomplish. The book tells it like it was and offers profound meaning not only for those interested in planetary exploration, but in general for all global leaders and professionals in business and government. The authors present this extraordinary feat of cross-cultural teamwork through the lens of paradoxical logic, demonstrating how a group of highly diverse people can excel globally if inspired by a unifying super ordinate goal and by discovering how success can be attained though the unity of diversity (be it disciplinary or cultural). Titans of Saturn is full of paradoxes: we travel to the far end of the solar system to discover new truths about ourselves. By reaching for the stars, cross-disciplinary and global teams can transform themselves and shape their own culture. The authors draw several important lessons of importance to dealing with the complexity of any large international or multi-disciplinary undertaking.
List Price $29.95 On Sale $4.92
Editorial Review :: This story behind the brilliant success of the Cassini-Huygens mission to the planet Saturn and its moon Titan details a monumental achievement that took scientists, engineers and government agencies from eighteen countries over 25 years to accomplish. The book tells it like it was and offers profound meaning not only for those interested in planetary exploration, but in general for all global leaders and professionals in business and government. The authors present this extraordinary feat of cross-cultural teamwork through the lens of paradoxical logic, demonstrating how a group of highly diverse people can excel globally if inspired by a unifying super ordinate goal and by discovering how success can be attained though the unity of diversity (be it disciplinary or cultural). Titans of Saturn is full of paradoxes: we travel to the far end of the solar system to discover new truths about ourselves. By reaching for the stars, cross-disciplinary and global teams can transform themselves and shape their own culture. The authors draw several important lessons of importance to dealing with the complexity of any large international or multi-disciplinary undertaking.
List Price $29.95 On Sale $4.92
00-02 Saturn S-series SL/SL1/SC1 BLUE INDIGLO GAUGES
Editorial Review :: Item Condition: Brand New The Colored Gauge Faces are one of the key ingredients to gaining the most functional and attractive point to any cockpit. The faces will replace the dull black layout with a bright and easy to read cluster. This is a must for all car buffs. White Face by Day. Glowing Blue at Night! The newest and most complete line of reverse gauge faces replacement products in the industry today. Quality madeto original O.E.M. specifications, these gauge kits work with all existing dash light functions. This is one of the hottest product categories in the business today. A General Installation Instruction will be included Sometimes the picture may vary from your gauges on your car (like rpm gauge and mph gauge is on the wrong side, it's because we put it on the wrong side when we were taking the picture. It will fit the car that we specified)
List Price On Sale $32.99
Saturn, Conjunct The Grand Canyon In A Sweet Embrace
This is the second part of a concert that took place at the Tonic in New York City on April 5th, 2003. The first part of the concert has already been released under the title Organic Resonance.
Wadada Leo Smith and Anthony Braxton have known each other at least since the late 60s. Probably their most fruitful work together was done as part of the Creative Construction Company, a group that came together in Paris about that time and included Leroy Jenkins, Muhal Richard Abrams and Steve McCall at various times.
Since then they have gone their seperate ways but both of them have developed at huge body of work based on their own individual sense of composition.
This concert comprises three compositions: Braxton's Composition No. 316, Smith's Saturn, Conjunct the Grand Canyon in a Sweet Embrace and Goshawk which is credited to both men and is probably a complete improv.
Smith's style utilizes a lot of space and Braxton adapts to that by doing the same. There are plenty of moments where one of them is performing solo and even when they are playing together they are allowing plenty of room for the other to play. In this sense, this is a very different concert, say, from Braxton's 1993 London duet with Evan Parker.
This CD demands your attention. Otherwise, particularly on Braxtons's piece (which is almost 29 minutes long), the music will seem episodic, indeed, even disjointed. This is a mistake. These two guys are working thru (mostly)composed pieces, listening to each other improv on those pieces, but the way they work together is very loose,lyrical and free. The album info quoted above says that this is an example of how duet music can develop in the future. Maybe so, but it sets the bar pretty high.
If you are a fan of Braxton and Smith, this is definitely a CD for you. If you are a fan of free music and you don't know these guys, drop and give me two hundred push ups and then listen to these CDs. The only reason that I did not give this CD five stars is that the first CD strikes me as a little better. Buy them both so you can make up your own mind.
And finally, for my fellow Braxtonians, if you haven't heard Braxton's standards quartet that he is leading now with Kevin O'Neil on guitar, Andy Eulau on bass, and Kevin Norton of drums, are you in for a surprise! This is Braxton playing as straight as I have heard him but playing straight with assorted twists and angular turns. And O'Neil is a great foil for this side of the musical genius that is Braxton. There is a double CD available on Norton's Barking Hoops label. Perfect for those who have resisted Braxton for years (And you know who you are, Jan P. Dennis). Check it out.
Editorial Review ::
List Price On Sale $8.99
Wadada Leo Smith and Anthony Braxton have known each other at least since the late 60s. Probably their most fruitful work together was done as part of the Creative Construction Company, a group that came together in Paris about that time and included Leroy Jenkins, Muhal Richard Abrams and Steve McCall at various times.
Since then they have gone their seperate ways but both of them have developed at huge body of work based on their own individual sense of composition.
This concert comprises three compositions: Braxton's Composition No. 316, Smith's Saturn, Conjunct the Grand Canyon in a Sweet Embrace and Goshawk which is credited to both men and is probably a complete improv.
Smith's style utilizes a lot of space and Braxton adapts to that by doing the same. There are plenty of moments where one of them is performing solo and even when they are playing together they are allowing plenty of room for the other to play. In this sense, this is a very different concert, say, from Braxton's 1993 London duet with Evan Parker.
This CD demands your attention. Otherwise, particularly on Braxtons's piece (which is almost 29 minutes long), the music will seem episodic, indeed, even disjointed. This is a mistake. These two guys are working thru (mostly)composed pieces, listening to each other improv on those pieces, but the way they work together is very loose,lyrical and free. The album info quoted above says that this is an example of how duet music can develop in the future. Maybe so, but it sets the bar pretty high.
If you are a fan of Braxton and Smith, this is definitely a CD for you. If you are a fan of free music and you don't know these guys, drop and give me two hundred push ups and then listen to these CDs. The only reason that I did not give this CD five stars is that the first CD strikes me as a little better. Buy them both so you can make up your own mind.
And finally, for my fellow Braxtonians, if you haven't heard Braxton's standards quartet that he is leading now with Kevin O'Neil on guitar, Andy Eulau on bass, and Kevin Norton of drums, are you in for a surprise! This is Braxton playing as straight as I have heard him but playing straight with assorted twists and angular turns. And O'Neil is a great foil for this side of the musical genius that is Braxton. There is a double CD available on Norton's Barking Hoops label. Perfect for those who have resisted Braxton for years (And you know who you are, Jan P. Dennis). Check it out.
Editorial Review ::
List Price On Sale $8.99
Sega Saturn Super Pad 8 Video Game Controller (Sega Saturn Controller) (Super Pad 8 for Sega Saturn, Sega Saturn Controller)
Editorial Review :: This listing is for Sega Saturn Controller. It is called Sega Saturn Super Pad 8 Video game controllr for the Sega Saturn. One controller per order. Has these buttons: X, Y, Z BUTTONs. Also Has these buttons A, B, C BUTTONs. HAS A AUTO ON AND OFF BUTTON. HAS A START BUTTON. HAS A LEFT AND RIGHT BUTTON. HAS A START BUTTON. ALSO HAS A BEHIND THE CONTROLLER ON/OFF SWITCH. VERY ADVANCE CONTROLLER AND VERY HARD TO FIND. Video game controller only.Sega Saturn is sold seperately. Sega Saturn is not included
List Price On Sale $9.50
G-Box Gold Series Performance Module for 2002-2009 Saturn Vue
Editorial Review :: The G-Box Gold Series works on the same premise as the original G-Box, however the Gold Series module utilizes a more aggressive set of operating parameters. The module functions by intercepting sensor outputs, modifying them, and outputting them to the vehicle's onboard computer. Even though the parameters of the Gold Series module are more aggressive than those of the original G-Box, most users are still able to attain significant performance gains without the use of premium fuel. The Gold Series module is also compatible with most popular performance upgrades such as aftermarket intake and exhaust systems, low boost forced induction systems, lightened and/or underdrive pulley kits, grounding kits, and many others. The G-Box Gold Series enhances performance in multiple ways. First, it modifies signals being read by the ECU, causing an adjustment to the fuel curve, which is what creates the increase in horsepower and torque, as well as improves throttle response and shift speed. When the ECU sees these modified signals it provides a different set of fuel and ignition maps than it would under factory operating conditions. A second feature of the G-Box Gold Series is it's "High-Heat Signal Correction." In short, when the engine compartment heats up, some sensors that relay pertinent fuel curve contingent information to the ECU begin to lose accuracy due to heat absorption into the sensor. The ECU then reads these incorrect signals, and leans out, or otherwise incorrectly alters the fuel curve, which hampers performance. These errors cannot be corrected from within the ECU, there must be an independent unit to correct these errors. The G-Box Gold Series is designed to compensate for these signal errors. Additionally, our easy to follow instructions will allow you to get your module installed in about 15 minutes. For more information please visit us at www.nextlevelracing.com, or call us toll free @ 1-888-293-1695, Monday - Friday 9:00 AM - 5:00 PM EST.
List Price $124.95 On Sale $104.95
Valleys of Neptune (Special Edition with 2 Bonus Tracks)
Only reason to get this disk is to see why the no-talent, leaden footed, british lounge player Noel had to go. Far too late but better late than never.
If these were Noel's audition tapes, he would't have made it into Spinal Tap, let alone the Jimi Hendrix Experience. Sounds like Sid Barrett's band on a bad night (did they ever have a GOOD night or too weighted down by the drugs?). Sounds like the bass foot dragger from Black Sabbath failing on Iron Man, or that fake tongue guy from KISS.
Not someone supporting the greatest African-Cherokee-American guitar player ever.
Sounds like someone with no clue what Black American music sounds like.
Proof here Noel had to go, like these tapes, straight into the dumpster instead of reeking making money for the vultures now, again, and again, and rehashed again.
We used to buy this junk hopefully from the discount cut out bin in the early seventies, and now they fork this slop to us again?
Back away from this disk. Get the in-his-lifetime officially released stuff instead, not all this posthumous grave rakings.
Like, here Hendrix is going places within the BB King idiom with Red house and all Noel can do is drag him down off tempo, like a dopey bass player out of Black Sabbath or KISS (Eddie Kramer's next effort), no idea what Jimi was doing and how to support it underneath, but always acting like a brainless pedestrian stepping on to the tracks of a roaring freight train, holding it down, and stopping it in its tracks. No wonder Jimi just stops the recording altogether instead of getting into the final verse.
Noel cannot dance and so Jimi cannot fly. Jimi tries to start up a number of quiet passages of blues and a number of explorations, but Noel believes he is the dominant star, can't accept he is working for a black man, doesn't know where to go, gets scared, but takes over and kills it.
To see where Jimi wanted to go, hear the symphonic blues of Red House off In the West recorded live in San Diego. Even there he gets frightened in the quiet segment and whips into overdrive instead, cause he knew otherwise Noel would kill it, live.
Here Noel's over dominant and mindless thumping with a few meaningless white bread fills to nowhere kill it. If Kramer is so great, how did he let this travesty of mismixing through? Couldn't he have put that bass in the background just a bit more?
And if Chandler had them all back in the studio twenty years later to redo their parts, how come they still couldn't do any better than this?
And why is it on the market at all??
To make more money off the unobjecting corpse, whose spirit would burn these tapes.
Here alone is one more reason alone why Noel had to go, never mind all his racial slurs and challenged personality, thinking himself the star and not the backup, this former back up for british cocktail lounge crooners like Englebert Humperdink who had no idea at all what the blues, and Jimi Hendrix, were all about. This is Spinal Tap.
There is nothing here Hendrix approved for public release and with a reason. Most of the tracks, in particular the first two, have vocals that would have been redone entirely, off tune, off key, in the first with no echo (if Kramer is such a whizz bang button pusher, why couldn't he have mixed this better instead of just going around claiming to be the brains and guts of Hendrix? If Kramer was such a whiz bang button pusher believing himself the PRODUCER, why couldn't he have miked the percussion of Jerry Velez and Jorma at Woodstock who banged their hearts out for hours that morning?), just a flat reading of Stone Free, off key and behind the music, like for a demo tap being laid down to be redone, (the album version is better no matter what the brochure sales material here claims), and mostly mumbling echoing behind the guitar in the second title track, which would have had lyrics rewritten, vocals redone, without all of the throat music, and the second guitar redone which here only explores the sound of the guitar effect without going anywhere, trying t reliably reproduce what was then a new sound on new technology, an open wail. In fact one would think that is not Hendrix but a studio guy brought in to posthumously to beef up this remnant of a beginning demo outline, which would never have been released to the public.
Bleeding Heart would have had the vocals redone as well, simply not up to a finished product.
Hear my train almost gets a finish on it, but hear the Jimi Plays Berkeley instead. OR for a glimpse of what Jimi could actually play before the british burned him out, see the twelve string version. What we have here on this mis-disk is still more of a practice session to learn the parts, the movements, to teach Noel how to play, rather than anything for public release.
But Noel could not play. Most of the studio stuff is Jimi playing the bass, anyway.
Anyway, Billy Cox got it infinitely better.
Sunshine has a real interesting scratch guitar section which speaks with the percussionist and is reminiscent of Santana of the time breaking down into a long percussion celebration, but nervous Noel kills it with his lead foot stomping all around aimlessly, mindlessly after Noel thinks some actual bass needs to come in but has nowhere to go and no clue what to do.
Something tribal that Mickey Hart or Peter Gabriel would have died for, Spinal Tap Noel kills.
Jimi needed that bass player from Santana seen in Woodstock: 3 Days of Peace & Music Director's Cut (40th Anniversary Ultimate Collector's Edition with Amazon Exclusive Bonus Disc), not a clueless british cocktail lounge guitarist.
Hendrix needed Mingus Ah Um, or Stanley Clarke, or better, Bootzilla, even that weird guy from Weather Report, maybe any of James Brown's fired bass players, or of course Bass on Top, not this brainfree british bloke.
But he got Billy Cox, and that was a miracle.
Basically this Sunshine is just a jam and not ready for public release, but in the brief beautiful percussive section it shows Hendrix playing the guitar as a percussion instrument, wonderful, until Noel kills it. It hints at what the extended dance versions at an Isley Bothers concert with Jimi Hendrix might have been all about. Too bad no one recorded them.
Fire is okay. This is one of the tunes that Buddy Miles fell apart on during the Band of Gypsies New Year's concert, during the drum fills, he could not keep up and so Jimi swaps out to a Buddy Miles style choral vocal break to get him back on track, see the clip on you tube, and here it is just like a standard pulled out to warm up the frozen Noel. Didn't work. Noel froze, and kills it.
Red House really needs Noel turned way down to the back all of the way. Friends who went to concerts at the time all say the bass was all they heard, and that early New York stadium tape it is all you hear. Here it is too loud and muddy and leaden foot, and kills where ever the guitar wants to go, with brainless white boy BS fills until Jimi has to call it quits instead of suffering through the final verse of his beloved signature song, knowing Noel had already killed it. Another take was not done. Noel had again flunked his screen test. And killing it we never heard it again. Worked to death by his gangster British management (damagement), a week without sleep, he was too tired for it on the Isle of Wright.
The weird thing is that bassist Chas Chandler had the rhythm section return to re-record their parts twenty years later, and Noel still has no clue.
If only Bootsy had been on tap then, Hendrix could have roared, and flown free, like The Gil Evans Orchestra Plays the Music of Jimi Hendrix wanted to set up for him, as he had done for Miles Davis. If only George Clinton - Greatest Hits had been producing instead of Kramer's believing he was the producer instead of just the guy pushing the buttons at the board.
If only John Hammond Jr. had brought his dad along to record those Greenwich Village shows, Jimi never would have had to go to London to get his ill clown show together and get worked to death, with no time to really record, except those few immortal albums he did manage to release more or less to his satisfaction. Get them instead of this dog: Are You Experienced? [Vinyl], Axis Bold As Love (Vinyl) and Electric Ladyland (2 Vinyl) and hear them again.
If only Les Paul had stuck around that New Jersey nightclub and discovered Jimi Hendrix before the british colonialized him, worked him to death, exploited him and left him out on the trash heap to die like all of their colonial acquisitions.
And we are left with only this, not the new rising sun he foresaw, if he were free.
The only book worth reading about his life was called Jimi Hendrix: Voodoo Child of the Aquarian Age retitled 'Scuse Me While I Kiss the Sky: Jimi Hendrix: Voodoo Child.
Get that, not these warmed over discarded tapes profitting the leeches and the vulture, who put out two versions of this in order to double their profits from the truly obsessed. I mean, here we are "blessed" with trashman and a Slow Version?
Hear House Burnin' Down instead . . .
Editorial Review :: Special edition includes two bonus tracks!
If these were Noel's audition tapes, he would't have made it into Spinal Tap, let alone the Jimi Hendrix Experience. Sounds like Sid Barrett's band on a bad night (did they ever have a GOOD night or too weighted down by the drugs?). Sounds like the bass foot dragger from Black Sabbath failing on Iron Man, or that fake tongue guy from KISS.
Not someone supporting the greatest African-Cherokee-American guitar player ever.
Sounds like someone with no clue what Black American music sounds like.
Proof here Noel had to go, like these tapes, straight into the dumpster instead of reeking making money for the vultures now, again, and again, and rehashed again.
We used to buy this junk hopefully from the discount cut out bin in the early seventies, and now they fork this slop to us again?
Back away from this disk. Get the in-his-lifetime officially released stuff instead, not all this posthumous grave rakings.
Like, here Hendrix is going places within the BB King idiom with Red house and all Noel can do is drag him down off tempo, like a dopey bass player out of Black Sabbath or KISS (Eddie Kramer's next effort), no idea what Jimi was doing and how to support it underneath, but always acting like a brainless pedestrian stepping on to the tracks of a roaring freight train, holding it down, and stopping it in its tracks. No wonder Jimi just stops the recording altogether instead of getting into the final verse.
Noel cannot dance and so Jimi cannot fly. Jimi tries to start up a number of quiet passages of blues and a number of explorations, but Noel believes he is the dominant star, can't accept he is working for a black man, doesn't know where to go, gets scared, but takes over and kills it.
To see where Jimi wanted to go, hear the symphonic blues of Red House off In the West recorded live in San Diego. Even there he gets frightened in the quiet segment and whips into overdrive instead, cause he knew otherwise Noel would kill it, live.
Here Noel's over dominant and mindless thumping with a few meaningless white bread fills to nowhere kill it. If Kramer is so great, how did he let this travesty of mismixing through? Couldn't he have put that bass in the background just a bit more?
And if Chandler had them all back in the studio twenty years later to redo their parts, how come they still couldn't do any better than this?
And why is it on the market at all??
To make more money off the unobjecting corpse, whose spirit would burn these tapes.
Here alone is one more reason alone why Noel had to go, never mind all his racial slurs and challenged personality, thinking himself the star and not the backup, this former back up for british cocktail lounge crooners like Englebert Humperdink who had no idea at all what the blues, and Jimi Hendrix, were all about. This is Spinal Tap.
There is nothing here Hendrix approved for public release and with a reason. Most of the tracks, in particular the first two, have vocals that would have been redone entirely, off tune, off key, in the first with no echo (if Kramer is such a whizz bang button pusher, why couldn't he have mixed this better instead of just going around claiming to be the brains and guts of Hendrix? If Kramer was such a whiz bang button pusher believing himself the PRODUCER, why couldn't he have miked the percussion of Jerry Velez and Jorma at Woodstock who banged their hearts out for hours that morning?), just a flat reading of Stone Free, off key and behind the music, like for a demo tap being laid down to be redone, (the album version is better no matter what the brochure sales material here claims), and mostly mumbling echoing behind the guitar in the second title track, which would have had lyrics rewritten, vocals redone, without all of the throat music, and the second guitar redone which here only explores the sound of the guitar effect without going anywhere, trying t reliably reproduce what was then a new sound on new technology, an open wail. In fact one would think that is not Hendrix but a studio guy brought in to posthumously to beef up this remnant of a beginning demo outline, which would never have been released to the public.
Bleeding Heart would have had the vocals redone as well, simply not up to a finished product.
Hear my train almost gets a finish on it, but hear the Jimi Plays Berkeley instead. OR for a glimpse of what Jimi could actually play before the british burned him out, see the twelve string version. What we have here on this mis-disk is still more of a practice session to learn the parts, the movements, to teach Noel how to play, rather than anything for public release.
But Noel could not play. Most of the studio stuff is Jimi playing the bass, anyway.
Anyway, Billy Cox got it infinitely better.
Sunshine has a real interesting scratch guitar section which speaks with the percussionist and is reminiscent of Santana of the time breaking down into a long percussion celebration, but nervous Noel kills it with his lead foot stomping all around aimlessly, mindlessly after Noel thinks some actual bass needs to come in but has nowhere to go and no clue what to do.
Something tribal that Mickey Hart or Peter Gabriel would have died for, Spinal Tap Noel kills.
Jimi needed that bass player from Santana seen in Woodstock: 3 Days of Peace & Music Director's Cut (40th Anniversary Ultimate Collector's Edition with Amazon Exclusive Bonus Disc), not a clueless british cocktail lounge guitarist.
Hendrix needed Mingus Ah Um, or Stanley Clarke, or better, Bootzilla, even that weird guy from Weather Report, maybe any of James Brown's fired bass players, or of course Bass on Top, not this brainfree british bloke.
But he got Billy Cox, and that was a miracle.
Basically this Sunshine is just a jam and not ready for public release, but in the brief beautiful percussive section it shows Hendrix playing the guitar as a percussion instrument, wonderful, until Noel kills it. It hints at what the extended dance versions at an Isley Bothers concert with Jimi Hendrix might have been all about. Too bad no one recorded them.
Fire is okay. This is one of the tunes that Buddy Miles fell apart on during the Band of Gypsies New Year's concert, during the drum fills, he could not keep up and so Jimi swaps out to a Buddy Miles style choral vocal break to get him back on track, see the clip on you tube, and here it is just like a standard pulled out to warm up the frozen Noel. Didn't work. Noel froze, and kills it.
Red House really needs Noel turned way down to the back all of the way. Friends who went to concerts at the time all say the bass was all they heard, and that early New York stadium tape it is all you hear. Here it is too loud and muddy and leaden foot, and kills where ever the guitar wants to go, with brainless white boy BS fills until Jimi has to call it quits instead of suffering through the final verse of his beloved signature song, knowing Noel had already killed it. Another take was not done. Noel had again flunked his screen test. And killing it we never heard it again. Worked to death by his gangster British management (damagement), a week without sleep, he was too tired for it on the Isle of Wright.
The weird thing is that bassist Chas Chandler had the rhythm section return to re-record their parts twenty years later, and Noel still has no clue.
If only Bootsy had been on tap then, Hendrix could have roared, and flown free, like The Gil Evans Orchestra Plays the Music of Jimi Hendrix wanted to set up for him, as he had done for Miles Davis. If only George Clinton - Greatest Hits had been producing instead of Kramer's believing he was the producer instead of just the guy pushing the buttons at the board.
If only John Hammond Jr. had brought his dad along to record those Greenwich Village shows, Jimi never would have had to go to London to get his ill clown show together and get worked to death, with no time to really record, except those few immortal albums he did manage to release more or less to his satisfaction. Get them instead of this dog: Are You Experienced? [Vinyl], Axis Bold As Love (Vinyl) and Electric Ladyland (2 Vinyl) and hear them again.
If only Les Paul had stuck around that New Jersey nightclub and discovered Jimi Hendrix before the british colonialized him, worked him to death, exploited him and left him out on the trash heap to die like all of their colonial acquisitions.
And we are left with only this, not the new rising sun he foresaw, if he were free.
The only book worth reading about his life was called Jimi Hendrix: Voodoo Child of the Aquarian Age retitled 'Scuse Me While I Kiss the Sky: Jimi Hendrix: Voodoo Child.
Get that, not these warmed over discarded tapes profitting the leeches and the vulture, who put out two versions of this in order to double their profits from the truly obsessed. I mean, here we are "blessed" with trashman and a Slow Version?
Hear House Burnin' Down instead . . .
Editorial Review :: Special edition includes two bonus tracks!
Track listing:
1. Stone Free
2. Valleys of Neptune
3. Bleeding Heart
4. Hear My Train A Comin'
5. Mr. Bad Luck
6. Sunshine Of Your Love
7. Lover Man
8. Ships Passing Through The Night
9. Fire
10. Red House
11. Lullaby For The Summer
12. Crying Blue Rain
Bonus tracks
13. Trash Man
14. Slow Version
List Price On Sale $21.38
