MINUTEMEN / SACCHARINE TRUST - Split 7"
This is a split record between two of Pedro’s finest, all songs are from previously released compilations (Life is Ugly So Why Not Kill Yourself, Cracks In The Sidewalk, Chunks and I think the SACCHARINE TRUST Christmas 7” …). It’s from the same label that reissued the REACTIONARIES LP. I think the MINUTEMEN songs have been reissued before via those SST Mersch comps, but not so sure about the SACCHARINE TRUST stuff. Being that they are the ultimate mutation sound, Joe’s voice is carved outta wood or some shit, created somewhere between a John Fante book and a CAPTAIN BEEFHEART LP. A true expansion of what is possible outta the limits of hardcore punk. These are more straightforward than some SACCHARINE TRUST shit, until of course you get to “A Christmas Cry” and you might as well give up on trying to make sense of it all. Let it sink in and stew in your brains. The MINUTEMEN songs are small fireworks, a million ideas crammed into songs, the music and lyrics are just as exploratory. “What does America mean to you?” A succinct comment on statehood, religion and celebrity in under a minute. The last two songs are instrumentals. I am pretty sure each side is under three minutes long but what you can achieve in that space, well it’s the mark of a good band. This is one of those things that initially seems sorta pointless, I mean all these songs are previously released, but listening to them on repeat reinforces how creative and incredible these bands were. The paranoia and freedom inherent in the punk rock is also engraved on the grooves of the record.
By Layla Gibbon
WUB REBUTTAL: The Saccharine Trust A Christmas Cry 7" was a promo only deal that SST put out. The Reactionaries record is not a reissue. No, these Minutemen songs were not on the Post-Mersh comps. Jack is the singer for Saccharine, not Joe. True, the Minutemen side is three minutes, but the Saccharine Trust side is five minutes. All these songs are from compilations that are now out of print (see list above). You would have to pay lots of money to get each individual comp (good luck). These Minutemen songs were also released on a Minutemen cassette only release titled My First Bells - 1980-1983. These Saccharine Trust songs were also released on a Saccharine Trust cassette only release titled The Sacramental Element. Both of these cassettes were released by SST records and are now out of print. So, I wouldn't say this is pointless, especially for new fans of these bands that weren't able to get these comps when they were originally released.
MINUTEMEN / SACCHARINE TRUST - Split 7"
Isn’t this what we needed just now? Almost-lost-and-almost-forgotten comp tracks from the Minutemen and Saccharine Trust, rescued off records with awesome Pettibon art and collected on to a split 7” which always should have been, also featuring awesome Pettibon art. Not gonna lie to you, as the guy at the record store loves to say to me – if you have a copy of Cracks In The Sidewalk, you could sort of go on living without this, if you could truly call it living. Minutemen’s “9:30 May 2” and Trust’s “Hearts And Barbarians” first clawed their way into California on that LP, and they’re two of the strong ones here. “9:30” is Joy-Punchline era Minutemen: about 30 seconds, riff snapping around like downed power lines, righteousness aplenty. (“What does America mean to you?” “America means everything to me!”) “Hearts” is Jack aflutter with sarcasm (“I would have laughed in my sleep if someone would have asked me, ‘What chance have we’”) and Joe just bleeding guitar everywhere, and although it’s not quite “I Am Right” it must be from right around Paganicons time. But best surprise is Trust’s “Disillusioned Fool,” which is a punk-az-fuk stormer that woulda been welcome on Paganicons – hostile, fast and rare, which is why we buy these kinda records! Plus their “A Christmas Cry” is wrecked free-improv noise hell that puts a big greasy smear across the holiday culture. Ever look at a Christmas tree and hate it? Brewer is so damn disgusted on this one. Cower before the power of the glower. Other tracks: two Minute-strumentals, including a faithful Tyrannosaurus Rex “Prelude.” Cool enough but you should have gone to get this three sentences back.
By Chris Ziegler
(THEE ULTIMATE) BABY J - Looking For A Sign
Baby J, from the underrated Stoned At Heart – her electric band with the Underground Railroad To Candyland/Toys That Kill/porchcore dudes who found a killer sound somewhere between the band and “Bastards of Young” – goes acoustic solo on this EP. Turns out the louder she gets, the better it sounds. “World Is Winning” reminds me of Miguel Mendez, another South Bay songwriter who was rightfully wrapped up with Dios and who could do powerful crazy things with his own acoustic guitar. Frantic righteous guitar, lots of momentum, great sentiment (“What it really deserves is to burn …”) and great refrain (“Now look what has become of the world!”) and dramatic drum hits that make me think of Minutemen promising that they’d curse more if they heard mortar shells. “Ghetto Street” is “World”’s little friend – comes out slashing with harmonica and doesn’t let up, and you can fill in the drums and the amps in your own head, and they’d sound good, too. Of the softer ones, go with “Dope Smoker Clothes” – you can hear the marine layer settle as J sings about looking for roads where the cops don’t drive slow. The best parts on here have that come-along-fer-the-ride! joy that the Fugs had when they were honkin’ harmonicas and singing about dope and the world as they knew it, too.
By Chris Ziegler
MINUTEMEN / SACCHARINE TRUST - Split 7"
It’s very goddamned hard to speak of the stuff on here, because my first inclination is to just gush like some simp fan boy about how truly fuggin’ fabulous these bands were and how truly fuggin’ mandatory a purchase this is. I mean, seriously, both took the Southern California hardcore template that was barely being forged at the time these tracks were being recorded, roughly 1980-83, and promptly turned the whole endeavor on its head with liberal doses of funk, groove-mongering, and free jazz. You get three songs from each here, all previously released, but all culled from the now-obscure Chunks, Cracks In The Sidewalk, Life Is Ugly So Why Not Kill Yourself and Life Is Beautiful So Why Not Eat Health Foods classic punk compilations, which means you’d have a fucker of a time finding ’em separately and your wallet would take a severe beating the minute you attempted to procure them. Pettibon and Baiza art, lyric sheet, and some of the best music to come out of the United States - you really cannot ask for more.
By Jimmy Alvarado
(THEE ULTIMATE) BABY J - Looking For A Sign
I’d love to review this record without bringing Todd C. into it, but he did record it, mix it, and play instruments on it, so I won’t. Hope she don’t mind the comparison, but I’ve always felt Baby J could be Todd’s opposite sexed alter ego. In fact, the first time I put on a Stoned At Heart (the band Baby J and Todd are in together) record, my wife asked me if this was the new Underground Railroad To Candyland record. That made sense to me. OK, enough already! This record is fucking fantastic. The first few songs sound like really great, stripped-down Stoned At Heart songs, while the rest are a bit softer and laid back. If you’re a fan of any of the recent Recess Records output (how could you not be?!?) as well as the likes of Kimya Dawson, then this is your new favorite record. Get it!
By Chris Mason
(THEE ULTIMATE) BABY J - Looking For A Sign
"Ghetto Street" is a 90-second folk-punk blast with the DIY pop hit of First Base, the teen ambition of fellow Californians, Moses Campbell and the ramshackle assurance of the Mountain Goats. Is it available to stream? Is it fuck. Go and buy it. The other five songs on the Looking For A Sign 7" are stripped down to the bone and set straight from the heart. You want a Moldy Peaches without the goofiness? You got it.
EPIC DEBAUCHERY - Excess in Moderation
Three-piece made up of veteran members of the San Pedro scene. The things that come immediately to mind when I listen are Shark Pants and the Damned, which, while different, aren’t necessarily mutually exclusive. What these dudes play is punk rock that incorporates the funky, punk rock soul party that is Shark Pants with brush strokes of Captain Sensible’s psychedelic guitar stylings and a bit of the theatrics of Dave Vanian’s vocals. This is an odd, but interesting and attention-holding couple of songs on this here cassette.
By Jeff Proctor
SEAN COLE - Christy Twins
Sean Cole, one half of Toys that Kill’s creative force, appears solo here for six tunes that he wrote, played, and recorded by himself. Just vocals and guitar, these are honest, introspective and spare bedroom recordings, like the early Sebadoh demos. It’s nice to hear more of Cole’s voice again. Cassette comes with a download card so you can play these tunes on your various digital platforms.
By Jeff Proctor
TODD CONGELLIERE - Clown Sounds + Clown Frowns
Back 13 years ago, I was a huge F.Y.P fan, but as the band took a more pop punk approach to their music, I lost interest and I haven’t really followed Todd C.’s music since. However, listening to this brilliant collection of his solo recordings reminds me of why I admired his music so much. A far cry from the sloppy hardcore of F.Y.P, Clowns Sounds meanders between dreamy lo-tech ’80s pop with a Modern English vibe and swampy Americana, complete with banjo. “Jamie,” a song for a passed friend, has a particularly Rolling Stones circa Sticky Fingers feeling. Fans of the late Jay Reatard should appreciate this—it’s authentic, introspective, insightful and fun.
By Jack Rabid
THE REACTIONARIES - 1979
The Cliff's Notes version seems appropriate for such a band: The Reactionaries were a short-lived act that preceded the Minutemen, with their entire lineup in tow plus vocalist Martin Tamburovich (dude would found New Alliance Records a few years after their breakup). Their only real recording, and even "real" is pushing it here, is a practice space session laid to tape and appropriately dubbed 1979 for this vinyl release put out last year by Water Under the Bridge.
Don't expect the Minutemen's complex, funk-enhanced spasms: This is pretty bare bones punk rock, like the proto take on early '80s hardcore. Granted, there are hints of more progressive things to come, with some shaky power-pop undercurrent to "Video Madonna" and '60s garage tinges to "Getting Existential on the Beach". Overall, it's decent, though it often blends together, and feels like the band's peers of the time far surpassed them. As far as the simpler goes, "Cheap False Teeth" goes the route of charred guitars and rambled, barely comprehensible hooks, and it shows what the Reactionaries can do best in just under two minutes. Is this classic? I'd disagree wholeheartedly, but it's a sloppy, fun mess all the same.
All things considered, the recording isn't terrible. Tamburovich sounds like he's singing into a paper bag (it somehow gets somewhat better by "God and Country"), but Mike Watt (who wrote most of these songs) lays down a steady, audible groove for the rambunctious vibe while D. Boon sloppily chops away and George Hurley backs more than competently.
Perhaps realizing that 1979 spans all of 21 minutes, they've stocked a bonus side B with covers of all nine tracks from various members of San Pedro-affiliated bands from yesterday and today. It's actually pretty cool, since it not only beefs up the album, but offers better recorded variations on the tracks. If there are two highlights, one's "Video Madonna", anchored on vocals by the instantly recognizable Watt himself. "Tony Gets Wasted in Pedro" is a strong, strong closer including Adam Gaxiola, Jerry Trebotic (a frequent drummer for Watt's bands), and Sean Cole (F.Y.P./Toys That Kill); definite Descendents vibe, oddly. "Cheap False Teeth" is a snotty, cool redux, and it happens to include Chuck Dukowski (Black Flag) and Todd Congelliere (F.Y.P./Toys That Kill) among others. "My Heroes" is sharp and quick, though "Brigate Rosse" might be a little twee for its own good, mostly due to Cindy Vodo-Bradley's vocals—John Blazing [the Three O'Clock] lays down the riffs well, though.
I realize I've talked far more about 1979's bonus content than the actual recording/practice session itself, but that's just because the covers side is actually preferred a bit. Still, overall this is a worthwhile document for hardcore Minutemen fans, or early punk historians.
By Brian
DAILY RECORD: The Reactionaries
It’s really impossible to do the San Pedro, California-based punk band The Reactionaries proper justice without mentioning the band they later spawned, the Minutemen. The latter group was known for a mixture of hardcore aggression, funk and jazz influence, and a sharply incisive style of political commentary (if anybody reading this has not basked in that band’s glory, by all means stop reading this and track down a copy of What Makes A Man Start Fires or Double Nickles On The Dime, or at the very least check out the documentary We Jam Econo). The Reactionaries predated the Minutemen, and featured all three of that band’s members plus singer Martin Tamburovich. This album compiles their only recording, a previously unreleased practice tape from 1979, along with cover versions of the same songs by musicians from the current San Pedro scene.
The Reactionaries themselves are impressive, especially considering that their members were barely out of high school at the time of the recording. There is a scrappy energy to their songs which straddles the divide between the primitive rock n' roll of early LA punk bands like X and the Plugz, and the aggression of nascent proto-hardcore bands like the Middle Class and the Germs. There is some slight indication of the sound members would later produce in the Minutemen--most notably the trebley guitars and busy basslines--but for the most part, the band plays it simple. Lyrically, the songs provided by bassist Mike Watt, such as “God And Country” or “The Big Lie,” offer a wise-beyond-his-years attempt to tackle larger issues without the didactic tendencies of a great many punk bands. On the other hand, the lyrics provided by singer Martin Tamburovich lean more towards standard small town post-adolescent excoriations of organized sports and watching television, and tend to be fairly asinine. The recording itself is raw, but not overly so, and is surprisingly well done for a tape made in the drummer’s shed thirty years ago.
The second half of the album, consisting of recent cover versions of the original songs by San Pedro locals, seems well-intentioned but hardly worth the effort. While the project of assembling the artists (including the surviving members of the Reactionaries/Minutemen, Black Flag, and Saccharine Trust) was obviously a labor of love and devotion to the original material, the cover versions seem a little bit safe and uninspired. After listening to the original material, it seems redundant to include note-perfect covers of each and every song in exactly the same order.
But questions of artistic consistency or redundancy are kind of beside the point. For the first time since its recording over thirty years ago, fans of the Minutemen or any early punk can now hear what was, if not an earth-shattering band, at least a signpost on the musicians’ way to greatness. While 1979 is enjoyable on its own, it’s better appreciated as a precursor to one of the most original bands in rock n' roll history. Like a rough draft of the Magna Carta or early sketches for Guernica, it may lack polish and finality, but is worth the price of admission for both its place in history and the immediacy of its content.
By Graham Scala
THE REACTIONARIES - 1979
The Reactionaries = The Minutemen + San Pedro, Calif. + a different singer.
I remember the first time I heard the Minutemen. I couldn’t figure out how they were playing their instruments so fast. I wasn’t sure that what they were doing was even punk rock. I wasn’t alone in my confusion—this was a common reaction when the band crawled out of San Pedro in the early 1980s. They seemed to arrive fully formed, completely different from everyone else, and without a single misstep. This record by the Reactionaries is an incredible historical document, and it fills in some of the early musical story of the Minutemen. The only personnel difference between the two bands is the Reactionaries’ addition of singer Martin Tamburovich. This disc is 10 songs taken from a practice tape made in the shed behind George Hurley’s house in 1979. The sound is rough, but we are able to see the early, more traditional punk leanings of the future Minutemen. After Tamburovich left the band to take a more managerial position at New Alliance Records, the band became the Minutemen. Having already fulfilled their punk rock fantasies, the band proceeded to branch off into classic 70s rock and even John Coltrane-style jazz, all the while keeping up a punk vibe. After D. Boon’s death in 1985, Hurley and Mike Watt went on to form fIREHOSE. In addition to the remastered 10-track demo, the disc also includes newly recorded versions of the songs by Watt and other musicians who are or have been important to San Pedro. The players represent bands like the Secondmen, Black Flag and Saccharine Trust. For upstart Pedro record label Water Under the Bridge, this is one hell of a first release.
By James Bennett
Reviews The Reactionaries LP cover art (click logo above).
THE REACTIONARIES - 1979
A split CD of sorts, with songs from a practice tape by this San Pedro band recorded, if you weren’t paying attention, in 1979. Who were the Reactionaries? They were the predecessor to the Minutemen, featuring vocalist Martin Tamburovich plus D. Boon, Mike Watt and George Hurley. And while you can hear hints of what would come later, such as “Getting Existential On The Beach.” The Reactionaries decidedly fell more in the punk rock camp. It’s obvious that those visits to Hollywood to “drink and pogo,” as Boon sang on “History Lesson Pt. 2” made an impression on their sound—echoes of the Dils, Middle Class and no doubt other bands. “God and Country” has the same sort of political urgency as what would come later. While things would get refined a bit when the musical core moved on to their better-known aggregation, these songs are edgy and energetic and the playing is solid. So how is this a split CD? The ten songs are covered by different permutations of members of bands with San Pedro roots. That includes Messrs. Watt and Hurley, Jack Brewer and Joe Baiza from Saccharine Trust, Todd from Toys That Kill and others who I’m too lazy to detail (and don’t know who they are, anyway). While it might seem redundant, it doesn’t have that “tribute album” cheesiness to it. The songs aren’t overproduced, maintaining some of the lively/unfettered feel of the originals—basic, stripped down punk treatments. The originals, though? Killer…
By Al Quint
THE REACTIONARIES - 1979
For any die hard fan of the Minutemen these Reactionaries recordings would no doubt be seen as absolutely essential listening. With that being said I am just about as casual of a Minutemen listener as anyone could be. However it is clear from these original practice recordings that Mike Watt, D. Boon, and George Hurley had already been tinkering with aspects of a sound that would later develop into their signature sound long before the Minutemen actually came to be. These are super raw, super lo fi recordings that sound exactly how one would picture a band featuring these guys in the late 1970′s would sound. The Clash worship is apparent and the foundation is set here. Snide political statements in songs like "The Big Lie" and "God and Country" apparently carried over to the Minutemen from their Reactionaries days. The only thing that really threw me for a loop in all of these tunes was the straight up Blue Oyster Cult lifting in "Tony Gets Wasted In Pedro."
The Lo-Fi recordings are balanced out on the second half of the C.D. where members of various iconic South Bay bands do their own reworkings of the Reactionaries catalog. These new recordings are sharp and well played out with everyone who contributed adding their own flavor. As stated before this disc will definitely have some people foaming at the mouth.
THE REACTIONARIES - 1979
Please understand what a one-in-ten-thousand shot this is for this record to come out as well as it did and prevented it from becoming merely a footnote. One: The fact that a pre-Minutemen band practice tape from the late seventies was even found. Two: The fact that the Reactionaries’ tape didn’t just fall apart when it was discovered and played. Three: The fact that the tape was handled like a deceased friend: with care, respect, and with all intent of honoring the dead. Singer Martin Tamburovich and guitarist D. Boon can’t be anything but smiling down from where ever they are. Four: The fact that the “record collector’s impulse” didn’t intentionally keep this tape obscure, sneak out some pressings on Ebay, then rake in some back door, gray market cash, garnering the respect and envy of a small group of well-heeled vinyl dorks while keeping it out of the hands of folks who love music and are willing to pay modest prices for it. Five: The fact that the fidelity of what’s transferred to vinyl sounds honest and true to the time; it’s carefully preserved. It’s far from mud. And it’s far from being pro-tooled to death or “Let’s fix the bottom end” bullshit. Six: With all that said, if there was just an A side to this record—the practice tape—it’s an amazing historical, archival effort—with its heart in exactly the right place—where you can hear the molecules and DNA of the Minutemen banging around and forming. But the fact that the B side is roundtable congregation of over thirty current (mostly) San Pedro musicians covering the songs on the A side is flabbergasting all the way from a conceptual to a logistical point of view. History ain’t dead folks; no reason to jump into a coffin before your time. Music ain’t dead, either. There’s a direct legacy that continues on through today. It still can be done “in house.” No need for larger labels, fancy-assed studios, or unsympathetic outsiders. Going back sometimes means leaping forward. Protection is often for the survival of the species. Seven: Most of us don’t even have pot thoughts this lucid and complicated. The fact that this record not only exists but was pulled off with so much focus and audio payoff warrants as many people as possible who claim to like punk to listen to this one-in-ten-thousand shot.
By Todd Taylor
Pre-Minutemen Foursome the Reactionaries Surface on Vinyl
The Minutemen have long been one of my favorite bands of all time, let alone the 80s hardcore scene. From their earliest days they took punk rock as a license to be themselves, creating a vibrant sound that strayed from hardcore orthodoxy (sometimes they even did away with choruses) and writing elliptical and profoundly personal lyrics when the status quo favored simplistic, heavy-handed political rants (Reagan sucks!) or nihilistic screeds (life sucks!).
Bassist Mike Watt, guitarist D. Boon, and drummer George Hurley got together as the Minutemen in January 1980 in their hometown of San Pedro, California, and though the band developed rapidly and restlessly until December 1985, when Boon was killed in an auto accident, they sounded fully formed right out of the gate. But a year before starting the Minutemen, those same three musicians formed the Reactionaries with singer Martin Tamburovich.
One song by the Reactionaries, "Tony Gets Wasted in Pedro," turned up on The Politics of Time (New Alliance, 1984), a kind of odds-and-ends compilation of early Minutemen recordings. Until last month it was the only Reactionaries music to see release. A relatively new San Pedro label called Water Under the Bridge Records has just put out a vinyl-only collection called 1979 that includes all ten tracks from the same rough practice tape that produced "Tony Gets Wasted in Pedro"—made in January 1979 in a "shed in back of George's house on 17th St., across the street from San Pedro High School," according to the back cover. The Reactionaries played pretty standard-issue punk rock, an experience that might've helped Watt, Boon, and Hurley get it out of their systems and focus on something more radical when they returned as the Minutemen the following year.
As Joe Carducci points out in his typically lucid liner notes, "What you can hear are the rudiments of the Minutemen's sound, only unlike most bands, they only got rid of stuff as they improved." Already in evidence are the ferocity and elasticity of the Watt-Hurley rhythm section, and Boon was clearly developing the trebly, scrabbling guitar sound that was one of many elements distinguishing the Minutemen from their fellow SoCal hardcore brethren from the get-go.
All ten tracks are squeezed onto side one of the record; the second side, in a move that probably means more to the San Pedro scene than to anybody else, features 38 folks from the city's punk community covering those same Reactionaries songs in various ad hoc configurations. I don't know most of the musicians, but the ones I do recognize have pretty sterling credentials: Watt, Hurley, Jack Brewer and Joe Baiza (both from Saccharine Trust), and Black Flag cofounder Chuck Dukowski. Thanks to label honcho Craig Ibarra, who coproduced 1979, you can listen to "Getting Existential on the Beach" by the Reactionaries below.
By Peter Margasak
PIG STATE RECON
THE REACTIONARIES - 1979
Green vinyl issue of a January 1979 practice pad recording that documents the no frills punker action Mike Watt, D. Boon, and George Hurley got up to with singer Martin Tamburovich prior to any MINUTEMEN mustering. Low-fi but still very fine and distinctive suburban punker stuff indeed, sorta like if THE URINALS had a mind to demolish the early CLASH songbook. The developing styles of these individual players bleed through during solos/intros, with the final song, “Tony Gets Wasted In Pedro” pointing directly at THE MINUTEMEN proper.
If that’s not enough, we also get an album side of various one-off aggregations featuring members of SACCHARINE TRUST, THE ZARKONS, RIG, THE RUB, F.Y.P. etc. – not to mention Watt and Hurley themselves – covering the same REACTIONARIES songs with 3 decades hindsight. The excitement these oldsters inject into the songs is totally palpable and infectious, as if everyone’s pleased to be tackling Watt/Boon songs that don’t have madcrazy rhythmic changes laced throughout em. These covers are uniformly great and all a hoot and half, but if a gotta pick one, I’d reckon it’s Jack Brewer who steals the show (as always). His gruff reading of “1979″ – wherein he tries to sing all you people think you’re cas/ just cause you heard the clash/ you’ll always be stuck in your time/ wake up to the times! with a straight face – cracks me up bigtime. Kudos to Craig Ibarra for curating this one with so much love.
To see The Reactionaries article, click logo above.
TKO Records' Top 10 Selling Records From Past Week (February 19, 2010)
TKO Records in Fountain Valley is mainly known as the record label that has launched punk bands such as Cock Sparrer, Nazi Dogs, and the Crumbs. However, in October 2007 they decided to open their own shop that specializes in rare and collectable punk-rock vinyl. The store doesn't only stock their shelves with punk, they have a diverse collection of metal, ska, garage, rockabilly, blues and more. Also, while you load up on rock hits, you can style-up with a huge selection of band tees and patches, StrangeWear, belts, and sunglasses.
1) The Eyes, TAQN 10" EP
2) The Regulations, To Be Me LP
3) The Reactionaries, 1979 LP
4) The Screamers, Pat Garrett Demo 12" EP
5) Hot Snakes, Suicide Invoice LP (reissue)
6) My Bloody Valentine, Loveless LP (reissue)
7) Chin Chin, We Don't Wanna Be Prisoners 7"
8) U.X. Vileheads 1st 7"
9) Circle One, Patterns Of Force LP (reissue)
10) Channel 3, To Whom It May Concern LP w/ CD
STAFF PICK: The Reactionaries' 1979 LP: "This is an excellent debut release for the newly-christened Water Under The Bridge Records, run by our friends from San Pedro's Rise and Fall Zine. It features a 1979 band practice recording from this early South Bay punk band that included all three future members of the Minutemen. This is a great time capsule of early SoCal punk. Don't sleep on this one, the first pressing of 500 on green vinyl is almost gone! Everyone that works here has already snagged a copy for themselves. We can't wait to see what Water Under The Bridge's next release is gonna be!"--Mark R.