Kickabye Anni Hogan

by Anni Hogan



An immense collaborative effort passionate recordings with intimate intensity involving a plethora of special guests plus rare early recordings and early Anni guest appearances.


From Compulsion: (by Tony Dickie)
Anni Hogan (formerly Annie Hogan) is no doubt familiar to many of our readers for her work with Marc Almond. Following his split from Soft Cell she was to become his key writing partner featuring as part of the Mambas and as with La Magia, his backing group for much of his solo material. This expanded version of Kickabye features Anni’s original debut EP, together with related material including her second single, demos from the late eighties, and other associated tracks. Four (or maybe three) compositions written for Marc Almond have been newly recorded in 2008 for this release.
Kickabye her debut 12-inch EP dates from 1985 and features an illustrious cast of artists who were knocking around with Stevo and his Some Bizarre label during this period. Originally released on Paul Smith (now Blast First supremo) and Cabaret Voltaire’s Double Vision label Annie Hogan Plays Kickabye appears in its entirety, with a reordered track list. Opening with ‘Vixo’ Annie mixes big blues barroom chords to the faux deep southern drawl of a young(ish) sounding Nick Cave. With its strings and harmonica it really falls into Bad Seeds territory. ‘Burning Boats’ is pretty good too. To stabbing piano chords and sweeping and slicing strings Marc Almond steps in with a wavering and emotive vocal. ‘Burning Boats’ reappears as an extra track in a Foetus Drum Version which further heightens the urgency. The rampant drumming and incessant strings ably match Almond’s frantic and desperate tones. It’s excellent stuff. Anni’s own contributions, like ‘Burning Boats’, are based on the poetry of Jessamy Calkin. ‘(Just Like) Drowning Kittens’ features (the Banshees) Budgies’ bluesy harmonica and slight jazzy drumming while ‘Executioners Song (Kickabye)’ is a fine slice of melodrama setting Anni’s highly optimistic vocal to mordant piano chords and slight double bass movements. ‘Delirious Eyes’, a previously unreleased track from the Kickabye sessions, is much more experimental and psychedelic with Gini Ball’s featherlight voice hovering over acoustic guitars, while studio trickery surrounds the strings and voice.
The other unreleased tracks on disc one such as ‘Hopes and Fears’ and ‘Wasting Time’ are much more pop oriented with an eighties sheen of keyboards and synthetic orchestration, with ‘Wasting Time’ picking up the melodrama of Marc Almond with an appealing track on the perils of unrequited love. ‘Fleurs Doll’ is a sort of surreal exotica piece with bird calls and a dreamy piano score, taken from an album by Deux Files, a project involving Simon Fisher Turner and Colin Tucker.
Even though Marc Almond wasn’t too kind to Anni Hogan in his biography, Tainted Life, Hogan returns to her work with Marc Almond with four solo piano pieces recorded in 2008 including ‘Blood Tide’ (Violent Silence), and the tender score of ‘The Hustler’ (Mother Fist). ‘Margaret’ her solo piece from the Mamba’s Untitled remains alarmingly faithful to the original recording while ‘The Frost Comes Tomorrow’ (The Stars We Are) is almost unrecognisable as it is transformed back into a beautiful piano piece with the gentle sighs of Katy Smith.
The second disc collects a number of unreleased demos from the eighties, along with her second single and a track recorded with Yello. Reminiscent of Strawberry Switchblade, tracks like ‘A Place To Belong’ and ‘Everything We Do’ sparkle with a glorious eighties synthetic production of keyboards, trumpets and sugar coated girl-pop melodies. Ex-Magazine/former Bad Seed Barry Adamson is at the controls on Anni’s second single ‘Story So Far’ and ‘Each Day’ lending the music a much more orchestral approach, though at times I can hear elements of Matt Johnsons’ The The circa Heartland. The final track, ‘Blue Nabou’, is a wonderfully rhythmic piece taking in electro, funk, film-noir, which originally appeared on the flipside of the Yello single ‘Vicious Games’.
This expanded reissue representing the solo work of Anni Hogan during the eighties is as comprehensive as it could be to. The inclusion of guest tracks and rerecordings are perhaps an unnecessary addition. Kudos to Cold Spring who stuck their neck out for this one, as Kickabye has always been a great wee EP. Hogan’s second single and the demos are also a bit of an eyeopener and worthy of the interest of anyone into girl-pop. And who cares if some of these songs are of there time as where else you gonna find a release that includes Nick Cave, Marc Almond, Budgie, Foetus, Simon Fisher Turner, Zeke Manyika, Barry Adamson, Yello… Stevo of Some Bizarre must be kicking himself for missing out on this reissue.

From Necroweb: (by Thom Darkdd)
Cold Spring Records hat das mir hier vorliegende Album angepriesen, als wäre es das Nonplusultra der Szene… und das mitunter auch zu Recht.
Es gibt zwar bestimmt einige, für die Anni Hogan wie für mich bis vor Kurzem kein Begriff ist. Wenn man sich aber mit der Person Annie Hogan intensiver beschäftigt, dann kommt man ganz schnell dahinter, dass man es hier mit einem im Hintergrund wirkenden Allroundtalent zu tun hat. Sie ist Batcave-DJane, Komponistin, Produzentin, Songwriterin, Arrangeur und und und… Die Liste könnte noch um ein ganzes Stück länger werden.
Auch die Namen der Menschen, mit denen Hogan zusammengearbeitet hat, strotzen vor Exklusivität: Marc Almond, Nick Cave, Budgie (Siouxsie And The Banshees) und Yello, um nur einige zu nennen.
Bisher hatte die Musikerin nur zwei Veröffentlichungen: im Jahre 1985 “Kickabye” und 1988 “Each Days”. Auf der jetzigen Veröffentlichung “Kickabye” finden wir nun die Songs der Singles und weiteres neueres Material.
Schon nach den ersten Takten muss ich feststellen, dass das, was jetzt alles kommen wird, bestimmt ungewöhnlich ist. Genauso ungewöhnlich wie die Macherin dieses Albums selbst.
Aber was genau finden wir denn auf ihrem Werk?! Einen Blues – gesungen von Nick Cave (nichts für ungewohnte Ohren) – einen herrlichen Song mit Marc Almond und danach greift die Künstlerin selber zu Mundharmonika und Mikrofon. Es wird die nächsten Minuten etwas countrylastig.
Die Songs “Marat”, “Kickabye” und “Delirious Eyes” erinnern ein bisschen an experimentelle Piano-Musik, nichtsdestotrotz gut gemacht.”Hope And Fears”, “Wasting Time” und “Senseless” hingegen sind leichte, melodisch-melancholische Popsongs. Das Piano gibt auch beim Rest des Albums absolut den Ton an.
Den Abschluss auf CD 1 bildet eine neuere Version des Marc Almond-Songs “Burning Boats”.
CD 2 lässt sich mit ein paar Worten umschreiben: 80er Jahre Wave-Sound. Sanft, geschmeidig, schön.
Fazit: “Kickabye” ist gelungener 80s Wave-Sound, gemischt mit einigen Größen der Szene. Experimentelle Tracks, die sich aber nicht im Surrealismus verlieren. Der Silberling beweist einmal mehr, dass man nicht immer ‘böse’ sein muss, um über den Tellerrand hinauszuschauen.

From Blow Up: (by Paolo Bertoni)
DJ storica dei giorni del Batcave e collaboratrice fondamentale di Marc Almond non solo come elemento delle line-up di Mambas, Willing Sinners o La Magia, Annie Hogan pubblicò a suo nome solo due 12”, ‘Annie Hogan plays Kickabye’ (’85) e ‘Each Day’ (’88). Il primo, pubblicato da Doublevision, si fregiava di partecipazioni illustri e appassionate, un Nick Cave tosto e verace, ancora fresco dei suoi debutti coi Bad Seeds e del pregresso, in un blues dannato e avvincente come Vixo e un Almond esemplarmente apocalittico in una fiammante Burning Boats prodotta da Foetus. Il resto, col piano a governare, è ovvio faccia fatica a competere, ma è piacevolissimo nelle sue inflessioni jazzy, sia in numeri alla Weekend come (Just Like) Drowning Kittens sia nello scorrevole strumentale Marat. Invero, passati tre anni forse era lecito aspettarsi di più dal pur godibile secondo singolo, con Each Day e Story So Far nettamente sixties oriented e con venature white soul. Questa antologia di Cold Spring, addirittura doppia, va però ben oltre il poco, inspiegabilmente, pubblicato, con altri quattordici brani, in gran parte inediti, tra cui preme segnalare le notevoli Hope And Fears e Wasting Time, con quella enfasi orchestrale tipica dei dischi di Marc, tre pop songs sul filone Strawberry Switchblade molto graziose – prodotte da Barry Adamson e che avrebbero dovuto essere pubblicate su un altro 12” mai uscito – e sublimi versioni intimiste di pezzi comparsi sugli album di Almond, con The Frost Comes Tomorrow e The Hustler che reclamano insistentemente lacrime o almeno piogge. (7/8)

From Darkroom: (by Nicola Tenani)
Nasce nel 1984 “Kickabye”, rimanendo per 25 anni solamente un EP, insieme a tanto altro materiale dell’artista inglese, tanto da diventare oggi un doppio album. Venticinque anni come fossero nozze d’argento, ed il mastro cerimoniere di questo matrimonio posticipato negli anni è proprio la Cold Spring, per i meriti di avere creduto che il materiale strappato dai cassetti dopo così tanto tempo non fosse gravato dall’odore di muffa e per aver lavorato alacremente sulla ristrutturazione di master quasi compromessi. La qualità digitale di entrambi i dischetti è ottima, segno che i tecnici della label hanno lavorato puntigliosi. Anni Hogan fu una debuttante di lusso: la dj del Batcave degli anni d’oro riunì a sé nel tempo amici artisti, ed ognuno di loro fu un tassello fondamentale per questo lavoro. Un pezzo di storia musicale underground cresce così tra i solchi passando da “Vixo”, eseguita da Nick Cave, “Burning Boats” con Marc Almond al microfono nel suo progetto Marco & The Mambas (con lo pseudonimo di Raul Revere), alla stessa song riarrangiata da Foetus e con l’ospite di lusso Budgie, amico della Nostra fin dai tempi del Batcave, vera fucina storica di tutto ciò che oggi ha un nome: post-punk. Mrs. Hogan in tutto ciò è stata l’artefice dei suoni alle tastiere, ma vi consiglio di non cercare questo album per ‘godere’ della voce di King Ink o di Almond, o cercando le bacchettate sulla batteria di Budgie: cercatelo per conoscere Anni Hogan, la sua voce suadente, le sue tessiture lunari al piano. Le tracce citate sono corposamente orchestrate ed immediate: le quindici song del primo dischetto e le sei del secondo sono quasi tutte creature storiche dell’artista, ma all’interno, tra un suono di ‘bossanova-lounge’ (tutto il secondo dischetto ricorda le sonorità di Nouvelle Vague… fino alla conclusiva “Nabou”, arrangiata insieme a Yello) ed un blues come appunto “Vixo”, in “Just Like Drowning Kittens” c’è un talento sensibile e solitario, nonostante i tanti amici. In quei momenti si apprezza la sensibilità delicata di Anni Hogan: “Marat” o la successiva “The Executioner’s Song” sono perle d’intimismo rarefatte e fragili, come forse l’esecutrice. Soprattutto la seconda, in cui vive il rilancio blues tipico anche di Lydia Lunch, ma la Nostra ha una voce più pulita, un tocco di dita sul pianoforte più elegante, accenti più morbidi e notturni, non provocatori come la Lunch. Potrebbe ricordare anche Gitane Demone in “Gloomy Sunday”, ma Anni rimane circoscritta nelle sue note vocali morbide fatte per sedurre, per sognare… Anche nervosa ed ossessiva, come nel caso di “Delirious Eyes”: tra suoni concitati di piano ed altri appena captabili di tromba si intrufola la voce di Gini Ball, riverberata di echi su singole parole, più che su frasi cantate. Un brano incantevole dal sapore Tuxedomoon, rimasto per anni inedito ed ora finalmente da tutti godibile. Il primo dischetto chiude con quattro tracce nate nella collaborazione di lungo corso tra Anni Hogan e Marc Almond: quattro ‘notturni’ al pianoforte creati per chiudersi ermetici nell’ascolto. “Margaret”, “Blood Tide”, “The Hustler” e “The Frost Comes Tomorrow” hanno lo stesso valore di un notturno di Chopin o una sonata di Einaudi, soffici partiture che nascono e muoiono delicate tra i tasti bianchi e neri offrendoci momenti di totale abbandono emotivo. La foto di una Hogan con la testa malinconicamente appoggiata al braccio ci aiuta a captare tra le righe la delicatezza introversa di un’artista che ha tanto da dire in ambito musicale; il nostro augurio è che “Kickabye” sia la nuova nascita: abbiamo ancora tanto bisogno di fermarci, chiuderci e sognare trasportati dalle sue note…

From Obliveon: (by MK)
„Kickabye“ ist die erweiterte Auflage der vor fünfundzwanzig Jahren veröffentlichten, gleichnamigen EP von Anni Hogan. Sechzehn zusätzliche Stücke aus dem Zeitraum von 1984 bis 2009 finden sich auf dieser Doppel-CD, vier von ihnen neu und in exklusiven Versionen. Als Gäste finden sich u.a. Nick Cave, Marc Almond, Foetus oder Yello auf „Kickabye“ was deutlich macht, in welche musikalische Richtung sich dieses Album mit seinen Songs aus fünfunzwanzig Jahren Musikgeschichte Anni Hogans bewegt. Düstere Singer-/Songwriter-Einflüsse, alternativ angehaucht und stets ein wenig zu „schräg“ und „sonderlich“, um ein „normales“ Rock-/Pop-Publikum zu erreichen. Viele der Songs, „Delirious Eyes“, „Senseless“ oder beispielsweise auch „Marat“, können den leicht angestaubten Charme früherer Tage aufgrund der altbacken klingenden Arrangements und der unzeitgemässen Produktion trotz des Remasterings kaum verbergen. So ist „Kickabye“ in der Tat eine Zeitreise, zu der wahrscheinlich auch nur diejenigen Hörer einen wirklichen Zugang bekommen, die diese fünfundzwanzig Jahre auch wirklich er- und durchlebt haben und Kinder der Punk- und Postpunk-Bewegung sind. Diese werden sich an „Kickabye“ zweifelsohne erfreuen, alle anderen mögen vorher in Ohr riskieren.

From Chain D.L.K.: (by Maurizio Pustianaz)
If the name of Anni Hogan (she was Annie, back in the 80′s) sounds new to you, you have to know that she was the woman in the shadows responsible of the fantastic piano/organ sound of various Marc Almond projects (Marc & The Mambas, Marc Almond and the Willing Sinners, then solo where she played with his band under the name “La Magia”). She played with Almond until the early 90′s but she also collaborated with tons of other artists such as: Soft Cell, Simon Fisher Turner, Nick Cave, Paul Weller, Barry Adamson, Lydia Lunch, Zeke Manyika, Sex Gang Children, Yello, Caged Baby. After all these experiences she didn’t quit the musical world as she’s still active as a musician, dj, etc. This double edition of KICKABYE collects the only two 12″s she released under her name (in 1985 and 1988) plus a lot of unreleased tunes coming from the same period and new recordings of her performing four tracks she composed for Marc Almond. We have “The Frost Comes Tomorrow” (originally released on “The Stars We Are” by Marc Almond), “The Hustler” (originally released on “Mother Fist” by Marc Almond), “Blood Tide” (originally released on “Violent Silence” by Marc Almond), “Margaret” (originally released on “Untitled” by Marc And The Mambas). On these ones you can enjoy her touch and her capability to turn a piano melody into a romantic or a dramatic voyage. Also the unreleased tunes will amaze you, just check “Delirious eyes” (an outtake of the “Kickabye” E.P.) where her piano duet with strings sounding like a bullfight or “Senseless” (a song she performed with her later band Cactus Rain) where her voice is floating on piano, marimbas and percussions. The first CD, along with the original “Kickabye” version, contains also the Foetus version of “Burning boats” which was originally on the “The House Is Haunted (By The Echo Of Your Last Goodbye)” 12″. The second CD contains three songs of recording session she did with Barry Adamson’s production which were intended for a follow up to her E.P. “A place to belong”, “Everything we do” and “Self” sounds like a mix between Marc Almond tunes and Aztec Camera and they sound really nice. “Story so far” and “Each day” are coming from the “Each day” 12″ released in 1988 by Dinamo Records. These two mix introspection and pop with nice strings arrangements, piano and vocals. The sixth and closing track “Blue nabou” is coming from a Yello 12″ titled “Vicious games”. She met them when she was recording with Marc Almond in Bavaria during a pause and after a while they asked her to play into a particular jazzy electronic track. This is history and you won’t miss it… (5/5)

From Hierophant Nox: (by Satanic Muttley)
I have been waiting for this Anni Hogan album for feels like a lifetime, and now its here? I’m not actually sure what to say about it. Yes its true, Satanic Muttley is finally lost for words! If you’re expecting the pure industrial dehumanised heartbeat I’d normally be expected to rave about… this won’t be anything like you’re ready for. Here instead is a collection of off kilter jazz/torch song/alternative piano led pieces, that will most likely confuse more ‘weekend’ Goths/Industrialists than will be enticed.
If you’re not already familiar with Anni, here is a sort of simplified breakdown of who she is, what she does, and why she’s so seminally important: Anni was one of THE original “Batcave” club DJ’s – she became revered simply through that… at first anyway. From there, she became a producer, arranger, songwriter, scene promoter etc. Her musical artistic resume is also breathtaking! Soft Cell, Tes Dept, Japan, Bad Seeds, Caged Baby, The The, Einsturzende Neuboaten, Paul Weller, Sex Gang Children… and many others.
Now given Anni’s past work with the likes of Marc Almond, Nick Cave, Yello, Lydia Lunch etc, perhaps you shouldn’t be too surprised at all at the left of centre approach taken here. Anni’s fluid and dexterous piano playing drives practically everything that effectively ‘is’ disc one, and it can be pretty jarring at times – its not meant as easy listening. You will also not be overly surprised to hear Messrs Cave, Almond, Gini Ball, Budgie (Siouxsie/Creatures), and Jim (Foetus) Thirwell appearing here. One friend commented that it was “not dissimilar to The Dresden Dolls…on a very bad acid trip!” ahem. I personally disagreed vigorously – bad tempered words were heatedly exchanged – tempers were frayed – we finally (for the sake of our friendship) “agreed to disagree” Ahem…Moving swiftly along…
Had my misguided friend bothered to wait for the second disc of this 2CD set, he would have had to eat his words (or so to speak). The second ‘set’ features Anni effectively ‘fronting’ Yello – and it is a very different prospect indeed. Bigger on both brass and strings, more melodic and directly accessible – dare I say the ‘pop’ word? Where the first disc features the aforementioned Messrs Almond, Cave, and other alternative luminaries too, and is quite ‘difficult’ to access, this second disc is utterly the opposite, it feels (to me anyway) to be a curious mixture of ‘80’s alternative and ‘60’s psychedelic pop… but it works either way.
In summation, quirky, diverse, both enchanting yet conversely disturbing, and well off the beaten track, “Kickabye” is a welcome diversion to the world of avant garde and to all things strange and not very normal at all! Come on in… the water is strangely sparkly…

From Gothtronic: (by Nightporter)
Acting as a session-musician or being in a backing band is a humble undertaking. You’re hardly ever in the spotlights while working hard to support the artist or band you’re collaborating with as adequately as possible. Besides her contributions in the studio and on stage Anni(e) Hogan produced and composed music for a variety of artists of which her cooperation with Marc Almond was the most long-lasting. In the course of the 80s she also released music under her own name: an EP called Annie Hogan Plays Kickabye and a 7″ called Each Day. Both releases have been compiled on this double-disc together with a considerable amount of bonus tracks. The original version of Kickabye contained five songs of which “Vixo” and “Burning boats” are the most remarkable. “Vixo”, sung by Nick Cave, is a tormented, plaintive track that would very well suit on his album The Firstborn Is Dead. “Burning boats”, sung by Marc Almond, is a typical product of Marc’s fascination with French chansons, avant-garde and the darker things of life. Both songs were exclusively recorded for the Kickabye EP, so for fans of afore-mentioned artists this double-disc is a must. The Foetus drum version of “Burning boats”, added as an extra, contains additional percussion which enhances the intensity. The quiet, jazzy “Just like drowning kittens” features Anni herself on vocals. A bluesy harmonica, piano and a subtle rhythm section form the instrumental part. “Marat” is a delicate piano piece and on “The executioner’s song (Kickabye)” Anni tries to squeeze out a high note. Singing isn’t her biggest talent, but playing the piano is. If only Nick Cave would have sung this track… “Delirious eyes” was recorded during the Kickabye sessions but was never issued. With violin and backing vocals by Gini Ball, the wife of Dave Ball, this is a dreamy composition. The percussion on all these tracks was done by Siouxsie and the Banshees’ drummer Budgie. “Hope and fears” was a track by Cactus Rain, the band Anni formed in 1989. On the second disc another song by that band appears: “Self”. “The frost comes tomorrow”, “The hustler”, “Blood tide” and “Margaret” are piano-interpretations of songs that Anni wrote for Marc Almond. “Fleurs dolls” is a song by the avant-garde/ambient pop band Deux Filles. It appeared on the 1983 album Silence & Wisdom and contains Anni’s first studio-recording. The previously unreleased tracks “A place to belong” and “Everything we do” show Anni in a rather poppy, easy-listening mode. The content of the single Each Day, including its b-side “Story so far” has an amiable, placid style. “Blue nabou”, the b-side to Yello’s 1985 single Vicious Games, is a swinging, rhythmic song. It closes this carefully assembled record. Some tracks had to be mastered from vinyl and very old tapes, but thanks to a skilful team of engineers they sound as clean as they can be.

From Mentenebre: (by Pedro Ortega)
1984. Londres. El círculo mágico de la movida underground oscura y una joven pizpireta pululando por allí. Esta es Anni Hogan, quien vivió y convivió con los más grandes de la escena que por entonces estaban comenzando a ganarse su reputación y cuyo éxito estaba a punto de aflorar: Marc Almond, Nick Cave, Blixa Bargeld, Foetus, Budgie, Barry Adamson, Lydia Lunch… Y entre ellos nuestra protagonista de hoy: Anni Hogan.
Ese año, con colaboraciones de algunos de estos gigantes Anni Hogan publicaba su único trabajo hasta la fecha, el EP “Kickabye”, nombre que Cold Spring ha rescatado para titular lo que tenemos entre manos, un doble CD con aquellas viejas canciones, además de todas las que se han fraguado en estos veinticinco años.
Anni Hogan – “Kickabye”Así que nos enfrentamos a un cuarto de siglo de historia visto a través del prisma de una cantautora independiente a la que el tiempo le ha llevado a mostrarnos su vivencia. Dado el amplio rango en que han sido compuestas las canciones de este disco y la diversidad de autoridades que militan en él, lógicamente el resultado resulta heterogéneo.
Ni que decir tiene que las canciones de los pesos pesados tienen entidad propia: ‘Vixo’ cantada por Nick Cavey ‘Burning Boats’ por Marc Almond. Ya solo por esto te tienes que pillar el CD. No obstante Anni Hogan tiene su mérito, por supuesto. Podríamos encajar el grueso de las canciones en lo que solemos llamar Dark Cabaret, sobre las compuestas a piano y voz que me recuerdan un poco a los trabajos en solitario de Gitane Demone. Se trata de los temas más recientemente grabados y podrían encajar perfectamente en la línea de gente como Baby Dee.
’Hope and Fears’ me recuerda a otra ilustre de la escena londinense, a Rose McDowall cuando grabó su proyecto Spell con Boyd Rice, es un tema de aire retro muy de ese corte. Es uno de los temas singulares del álbum. Otros no son tan reseñables con ciertos toques de experimentación con no excesiva fortuna.
El segundo Cd a mi juicio es más flojo a mi parecer creo que podría haberse condensado con el primero y haber editado el álbum en un solo disco, creo que con una buena selección el álbum habría quedado redondo.
Por todo lo anteriormente dicho tenemos un álbum que rezuma historia por los cuatro costados, y que si bien no es una obra maestra, todos los que hemos vivido esa época vamos a disfrutar de un disco que es una cápsula comprimida de pura nostalgia.


released January 1, 2015

Anni Hogan and Nick Cave Marc Almond Budgie Gini Ball Anne Stevenson Martin McCarrick Billy McGee Foetus Barry Adamson Yello Simon Fisher Turner and Colin Tucker (Deux Filles) Zeke Manyika Steve Humphreys Audrey Riley
Engineering Richard Preston (Alvic) Charlie Grey (Wave) Phil Hartley (Liverpool)
Tracks produced by Foetus Barry Adamson Zeke Manyika Nick Cave Yello Colin Tucker and Simon Fisher Turner and new recordings Phil Hartley (see bonus items for track listings and full credits)
Digitally re-mastered by Martin Bowes @ Cage Studios



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