Stranger by the Minute
"Stranger by the Minute" is a single by British progressive rock band Porcupine Tree, released in October 1999, from the Stupid Dream album. It came in two formats: a regular CD and a 7" vinyl which features "Hallogallo", a Neu! cover. It was intended to include the complete version of "Even Less" on the single, but this would have meant exceeding the maximum running time allowed for a single in the UK; the CD, besides the video for "Piano Lessons", contains a Macromedia presentation including band photos, the discography, more. "Stranger by the Minute" - 3:47 "Even Less" - 7:26 "VIDEO: Piano Lessons" - 3:30 A/ "Stranger by the Minute" 3:45 B/ "Hallogallo" 4:04All titles by Steven Wilson, except "Hallogallo" by Rother/Dinger. "Hallogallo" was recorded in 1995 and issued on the Insignificance cassette. This version has been remixed and extended. Steven Wilson – vocals, piano, bass on "Stranger By The Minute", all instruments on "Hallogallo" Richard Barbieri – analogue synthesizers, hammond organ, mellotron Colin Edwin - bass on "Even Less" Chris Maitland - drums, backing vocals on "Stranger By The Minute" Theo Travis - flute on "Even Less" The complete Steven Wilson discography
Gavin Harrison is a British musician. He is best known for playing with the British progressive rock bands Porcupine Tree and King Crimson. Gavin started to work professionally in 1979. In 1983–84 he toured as a member of Renaissance, he worked as a freelance session drummer on records and tours for the following artists: Incognito, Lisa Stansfield, Lewis Taylor, Artful Dodger, Paul Young, Iggy Pop, Level 42, Porcupine Tree, OSI, King Crimson, Dizrhythmia,The Kings Of Oblivion, Sam Brown, Tom Robinson, Go West, Gail Ann Dorsey, B J Cole, Dave Stewart and Barbara Gaskin, Nathan East, Yasuaki Shimizu, Kevin Ayers, Claudio Baglioni, Franco Battiato, Chizuko Yoshihiro, Richard Barbieri, Mick Karn, Eros Ramazzotti, Devogue. In 2002 he joined Porcupine Tree. In 2007 Gavin began a long term collaboration with singer/extended range bass player 05Ric, which led to the release of three CDs, Drop and The Man Who Sold Himself. In 2008, Gavin joined King Crimson as part of a dual-drummer line-up with Pat Mastelotto.
Gavin played a number of shows in the United States in August with the band. On 23 August 2011 he was a featured performer on the'Late Show with David Letterman' as part of their second "Drum Solo Week", along with such players as Stewart Copeland, Neil Peart, Dennis Chambers; as of September 2014, Harrison plays live in the new formation of King Crimson, as one of the three drummers. In January 2017 he was guest drummer with The Pineapple Thief for European tour in support of their album Your Wilderness. We're so excited. It’s a real once in a lifetime event", said their leader Bruce Soord. In August 2018, just prior to the release of The Pineapple Thief's 12th studio album Dissolution, the band announced that Gavin joined the band as a full member. Harrison was influenced by his father's jazz collection and by drummers such as Steve Gadd and Jeff Porcaro. Many artists have cited Harrison as an influence, including Chris Pennie, Ryan Van Poederooyen, Dirk Verbeuren, Andrew Spence, Raymond Hearne of Haken, John Merryman of Cephalic Carnage, Jamie Saint Merat of Ulcerate, Aaron Stechauner of Rings of Saturn, Baard Kolstad of Leprous, Francesco Paoli of Fleshgod Apocalypse, Matija Dagović of Consecration, Vishnu Reddy of Crypted.
In addition, other artists have been quoted expressing admiration for his work including Neil Peart, Bill Bruford, Mike Portnoy, Devin Townsend, Steve Smith, Martín López, Matt Garstka, Dave Bainbridge, Hannes Grossmann, Blake Richardson, Kai Hahto, Jimmy Keegan, Dan Presland of Ne Obliviscaris, Evan Sammons of Last Chance to Reason, Bodo Stricker of Callejon, Joshua Theriot of Abigail's Ghost, Blake Anderson of Vektor. He won the Modern Drummer magazine readers' poll for "best progressive drummer of the year" consecutively from 2007–2010 and again in 2016 and 2019, he won "Best Prog Drummer" in DRUM USA magazine 2011. "Prog Magazine" voted him number one drummer 2012 and 2018. He is the featured cover story on Modern Drummer January 2009 and February 2015. Rolling Stone Magazine polls rate him as the third best drummer in the past 25 years. Best Prog Drummer 2011 & 2012 in Prog Magazine. In 2014, Modern Drummer magazine placed Gavin in the Top 50 Greatest Drummers of all Time. Harrison has authored two instructional drum books entitled Rhythmic Illusions and Rhythmic Perspectives.
He wrote and produced his own instructional DVDs, Rhythmic Visions and Rhythmic Horizons, at his home studio. 2010 saw the release of Rhythmic Designs, a book of transcriptions by Terry Branam, a 3-hour DVD of Gavin's explanations and demonstrations. It won'Best in Show' at the summer NAMM show in the USA. 2014 sees the release of Rhythmic Compositions a book of 20 detailed drum transcriptions of recorded Porcupine Tree performances – plus photos and stories of the recording and creative process. List of drummers List of jazz drummers Gavin's official website Gavin's Drummerworld.com page
Richard Barbieri is an English musician and songwriter. A member of new wave band Japan, more he is known as the keyboard player in the progressive rock band Porcupine Tree, which he joined in 1993. Barbieri started his musical career with the group Japan who formed in 1974. In 1977 the band was signed to the Hansa/Ariola label and began work on a debut album, released in 1978. Japan went on to record five studio albums culminating in Tin Drum which stayed in the UK Albums Chart for a year, they were one of the most successful chart bands in Europe and Asia in 1982. The band split up in December 1982 at the height of their popularity after a world tour that year. After the break-up of Japan, Barbieri continued his association with David Sylvian, playing on the latter's early solo albums. During this time he worked alongside such other innovators as Holger Czukay, Ryuichi Sakamoto and Robert Fripp. In 1984 he started a long musical association with Steve Jansen; this has produced six collaborative albums to date, under the name The Dolphin Brothers and as Jansen / Barbieri.
In late 1989, the members of Japan reunited under the name Rain Tree Crow to make new recordings for Virgin. This resulted in a single eponymous album which extended the work of late Japan and the solo/collective work of all four members, featuring a variety of influences from pop to art rock, jazz and world music. Other contributors to the album included Bill Nelson. Rain Tree Crow brought critical acclaim; the group parted company shortly after recording the album. However, the project was key to the reuniting of Jansen and Karn as a creative unit; the next work by Jansen and Karn was as the rhythm section for British art-pop band No-Man, who recruited them for a 1992 UK tour and for recordings which appeared on the Loveblows & Lovecries album and on the "Painting Paradise" and "Sweetheart Raw" EPs. This marked Barbieri's first work with Steven Wilson, with whom he would go on to work in Porcupine Tree. In 1993 Barbieri formed the Medium Productions label in 1993 with Karn, they commenced with the Jansen/Barbieri/Karn album Beginning to Melt.
Thirteen diverse albums were released during a ten-year period. During this period Barbieri made two other collaborative albums, one with his wife Suzanne J. Barbieri under the name Indigo Falls, one with Tim Bowness from the band No-Man titled Flame. In late 1993 Barbieri joined the progressive rock band Porcupine Tree; the band released eight studio albums to greater chart success, toured in support of many of them. Employing many aspects of psychedelic rock, they transitioned to a more pop-oriented style before settling on progressive metal, their first major success was the album In Absentia, which enjoyed chart success around Europe with sales of over 120,000. The following studio albums Deadwing and Fear of a Blank Planet met greater success, charting worldwide. Increased radio airtime and favourable mainstream magazine reviews and interviews further increased their public exposure; the band transitioned somewhat away from metal with their last album, The Incident, with leader Steven Wilson expressing a desire to enter a different genre.
The band members are concentrating on solo projects and have no immediate plans to work together in the future. Richard Barbieri collaborated with Steve Hogarth on the album Not The Weapon But The Hand, released by Kscope Records in 2012, but a proposed tour was cancelled for financial issues. Barbieri wrote Hogarth provided the lyrics for the album. Richard Barbieri has released three solo albums to date, Things Buried, 2004/5, Stranger Inside, 2008, Planets + Persona, 2017. In January 2019 Barbieri released'Variants 1 + 2' on vinyl only; the 2LP set features new compositions, live performances and reworkings of older material. It is the first compilation set to be released in a series. In 1982 Richard Barbieri produced the album En plats i solen by the Japan-influenced Swedish band Lustans Lakejer. In 2017 he joined them on a Swedish tour to perform the album in its entirety. Aside from recording and touring, Barbieri has written articles on analogue synthesis for various publications, he guests with an electronic improvisational group.
Recent work with The Bays includes two Radio One sessions for the late John Peel and concerts at the Queen Elizabeth Hall and Brighton Dome. Richard and The Bays performed an improvised soundtrack to Run Lola Run in Darling Harbour, Sydney in 2009, he undertakes occasional keyboards duties for the live outings of Marillion vocalist Steve Hogarth's fronted H-Band, appearing on the 2002 Album'Live Body
Voyage 34: The Complete Trip
Voyage 34: The Complete Trip is a compilation album by British progressive rock band Porcupine Tree. The individual tracks for the album were recorded in 1992 or 1993, while the album itself was compiled and released in 2000, reissued again in 2004; the album originated from a single track, titled "Voyage 34", to be part of Porcupine Tree's second studio album, Up the Downstair. A 30-minute track intended to be the second disc of a double album, Wilson decided to release "Voyage 34" independently of the rest of the album, it was released in two parts, as singles, as "Voyage 34" and "Voyage 34" in 1992. In 1993, Voyage 34: Remixes was released. "Voyage 34" was a remix by the British electronic music group Astralasia, while "Voyage 34" was a remix by Wilson himself, along with future band member Richard Barbieri. A voice sample of Dead Can Dance's song "As the Bell Rings the Maypole Spins" is repeated throughout all four tracks. Voyage 34: The Complete Trip compiles all four "phases" onto one album.
The cover art is inspired in Timothy Leary's record L. S. D cover. Despite being instrumental, Voyage 34 can be considered a concept album, where the LSD trip of a young man called Brian is told with spoken words. Musically it is a fusion of psychedelic rock and trance music. During a 2002 interview before the release of In Absentia, Steven Wilson said the following in regards to the release of Voyage 34 after being asked why the band released a 30-minute single: "It was an anti-single, it was a thirty minute single about drugs and it had no vocals in it. I thought, but it charted anyway. It was the ultimate'fuck you'. We have released four minute singles since then, but for Porcupine Tree to release a single is like an oxymoron. It's difficult to take out a four minute chunk from an album and say'Here we are; this encapsulates everything Porcupine Tree are about.' It's never been satisfactory to me to release a single. If you know the group, you know that from one minute we go from extreme metal riffing to ambient texture, the next minute we'll have a pop hook, the next minute we'll have some avant garde sample.
All of these things are part of the album. How do you take a chunk of that? To me it's unrepresentative."Wilson said of Voyage 34, in reflection, in 2012: The whole point about "Voyage 34" was an exercise in genre. In that sense it stands apart from the rest of the catalogue...back in the early Nineties, there was an explosion in ambient music, a fusion of electronic music and techno music with the philosophy of people like Brian Eno and Tangerine Dream. I thought there was an interesting opportunity to do something that would bring progressive rock and psychedelia into that mixture. I wouldn’t say "Voyage 34" was a technical exercise, that makes it sound like a science project, but it was a one-off experiment in a particular genre in which I knew I wouldn’t be staying for long. I was given a tape of a guy having a bad trip in the Sixties, it was an anti-LSD propaganda album and it was perfect to form a narrative around which I could form this long, trippy piece of music. And, "Voyage 34". At the time, I think that sort of music was passing.
Music, too attached to a trend soon starts to sound dated. I was always interested in existing outside the bubble of whatever was hip, that kind of music was briefly hip. "Voyage 34" sits inside that bubble. I’m still proud of it, it was a unique piece of music, but of all the catalogue, it’s one of the pieces which relates most to the era that it was created in. "Phase I" – 12:55 sample "Phase II" – 17:31 "Phase III" – 19:29 "Phase IV" - 20:45Note: The original vinyl release of phases 3 and 4 featured the full length version of phase IV, which ran only longer than phase III. When the tracks were compiled for CD in 2000, this was cut to 13:42. A recent CD reissue reinstates the original Phase IV with a length of 19.47. Porcupine Tree Official Website
A-side and B-side
The terms A-side and B-side refer to the two sides of 78, 45, 331⁄3 rpm phonograph records, or cassettes, whether singles, extended plays, or long-playing records. The A-side featured the recording that the artist, record producer, or the record company intended to receive the initial promotional effort and receive radio airplay to become a "hit" record; the B-side is a secondary recording that has a history of its own: some artists released B-sides that were considered as strong as the A-side and became hits in their own right. Others took the opposite approach: producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side. Music recordings have moved away from records onto other formats such as CDs and digital downloads, which do not have "sides", but the terms are still used to describe the type of content, with B-side sometimes standing for "bonus" track.
The first sound recordings at the end of the 19th century were made on cylinder records, which had a single round surface capable of holding two minutes of sound. Early shellac disc records records only had recordings on one side of the disc, with a similar capacity. Double-sided recordings, with one selection on each side, were introduced in Europe by Columbia Records in 1908, by 1910 most record labels had adopted the format in both Europe and the United States. There were no record charts until the 1930s, radio stations did not play recorded music until the 1950s. In this time, A-sides and B-sides existed. In June 1948, Columbia Records introduced the modern 331⁄3 rpm long-playing microgroove vinyl record for commercial sales, its rival RCA Victor, responded the next year with the seven-inch 45 rpm vinylite record, which would replace the 78 for single record releases; the term "single" came into popular use with the advent of vinyl records in the early 1950s. At first, most record labels would randomly assign which song would be an A-side and which would be a B-side.
Under this random system, many artists had so-called "double-sided hits", where both songs on a record made one of the national sales charts, or would be featured on jukeboxes in public places. As time wore on, the convention for assigning songs to sides of the record changed. By the early sixties, the song on the A-side was the song that the record company wanted radio stations to play, as 45 rpm single records dominated the market in terms of cash sales, it was not until 1968, for example, that the total production of albums on a unit basis surpassed that of singles in the United Kingdom. In the late 1960s, stereo versions of pop and rock songs began to appear on 45s; the majority of the 45s were played on AM radio stations, which were not equipped for stereo broadcast at the time, so stereo was not a priority. However, the FM rock stations did not like to play monaural content, so the record companies adopted a protocol for DJ versions with the mono version of the song on one side, stereo version of the same song on the other.
By the early 1970s, double-sided hits had become rare. Album sales had increased, B-sides had become the side of the record where non-album, non-radio-friendly, instrumental versions or inferior recordings were placed. In order to further ensure that radio stations played the side that the record companies had chosen, it was common for the promotional copies of a single to have the "plug side" on both sides of the disc. With the decline of 45 rpm vinyl records, after the introduction of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. At first, cassette singles would have one song on each side of the cassette, matching the arrangement of vinyl records, but cassette maxi-singles, containing more than two songs, became more popular. Cassette singles were phased out beginning in the late 1990s, the A-side/B-side dichotomy became extinct, as the remaining dominant medium, the compact disc, lacked an equivalent physical distinction.
However, the term "B-side" is still used to refer to the "bonus" tracks or "coupling" tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other physical media have declined, the term "B-side" is now less used. Songs that were not part of an artist's collection of albums are made available through the same downloadable catalogs as tracks from their albums, are referred to as "unreleased", "bonus", "non-album", "rare", "outtakes" or "exclusive" tracks, the latter in the case of a song being available from a certain provider of music. B-side songs may be released on the same record as a single to provide extra "value for money". There are several types of material released in this way, including a different version, or, in a concept record, a song that does not fit into the story lin
Alternative rock is a style of rock music that emerged from the independent music underground of the 1980s and became popular in the 1990s. In this instance, the word "alternative" refers to the genre's distinction from mainstream rock music; the term's original meaning was broader, referring to a generation of musicians unified by their collective debt to either the musical style or the independent, DIY ethos of punk rock, which in the late 1970s laid the groundwork for alternative music. At times, "alternative" has been used as a catch-all description for music from underground rock artists that receives mainstream recognition, or for any music, whether rock or not, seen to be descended from punk rock. Alternative rock broadly consists of music that differs in terms of its sound, social context and regional roots. By the end of the 1980s, magazines and zines, college radio airplay, word of mouth had increased the prominence and highlighted the diversity of alternative rock, helping to define a number of distinct styles such as noise pop, indie rock and shoegaze.
Most of these subgenres had achieved minor mainstream notice and a few bands representing them, such as Hüsker Dü and R. E. M. had signed to major labels. But most alternative bands' commercial success was limited in comparison to other genres of rock and pop music at the time, most acts remained signed to independent labels and received little attention from mainstream radio, television, or newspapers. With the breakthrough of Nirvana and the popularity of the grunge and Britpop movements in the 1990s, alternative rock entered the musical mainstream and many alternative bands became successful. In the past, popular music tastes were dictated by music executives within large entertainment corporations. Record companies signed contracts with those entertainers who were thought to become the most popular, therefore who could generate the most sales; these bands were able to record their songs in expensive studios, their works sold through record store chains that were owned by the entertainment corporations.
The record companies worked with radio and television companies to get the most exposure for their artists. The people making the decisions were business people dealing with music as a product, those bands who were not making the expected sales figures were excluded from this system. Before the term alternative rock came into common usage around 1990, the sort of music to which it refers was known by a variety of terms. In 1979, Terry Tolkin used the term Alternative Music to describe the groups. In 1979 Dallas radio station KZEW had a late night new wave show entitled "Rock and Roll Alternative". "College rock" was used in the United States to describe the music during the 1980s due to its links to the college radio circuit and the tastes of college students. In the United Kingdom, dozens of small do it yourself record labels emerged as a result of the punk subculture. According to the founder of one of these labels, Cherry Red, NME and Sounds magazines published charts based on small record stores called "Alternative Charts".
The first national chart based on distribution called the Indie Chart was published in January 1980. At the time, the term indie was used to describe independently distributed records. By 1985, indie' had come to mean a particular genre, or group of subgenres, rather than distribution status; the use of the term alternative to describe rock music originated around the mid-1980s. Individuals who worked as DJs and promoters during the 1980s claim the term originates from American FM radio of the 1970s, which served as a progressive alternative to top 40 radio formats by featuring longer songs and giving DJs more freedom in song selection. According to one former DJ and promoter, "Somehow this term'alternative' got rediscovered and heisted by college radio people during the 80s who applied it to new post-punk, indie, or underground-whatever music". At first the term referred to intentionally non–mainstream rock acts that were not influenced by "heavy metal ballads, rarefied new wave" and "high-energy dance anthems".
Usage of the term would broaden to include new wave, punk rock, post-punk, "college"/"indie" rock, all found on the American "commercial alternative" radio stations of the time such as Los Angeles' KROQ-FM. Journalist Jim Gerr wrote that Alternative encompassed variants such as "rap, trash and industrial". In December 1991, Spin magazine noted: "this year, for the first time, it became resoundingly clear that what has been considered alternative rock – a college-centered marketing group with lucrative, if limited, potential- has in fact moved into the mainstream"; the bill of the first Lollapalooza, an itinerant festival in North America conceived by Jane's Addiction frontman Perry Farrell, reunited "disparate elements of the alternative rock community" including Henry Rollins, Butthole Surfers, Ice-T, Nine Inch Nails and the Banshees and Jane's Addiction. That same year, Farrell coined the term Alternative Nation. In the late 1990s, the definition again became more specific. In 1997, Neil Strauss of The New York Times defined alternative rock as "hard-edged rock distinguished by brittle,'70s-inspired guitar riffing and singers agonizing over their problems until they take on epic proportions".
Defining music as alt
Porcupine Tree were an English rock band formed by musician Steven Wilson in 1987. The band began as a solo project for Wilson, who created all of the band's music. By late 1993, however, he wanted to work in a band environment, bringing on frequent collaborators Richard Barbieri as keyboardist, Colin Edwin as bassist, Chris Maitland as drummer to form the first permanent lineup. With Wilson as lead vocalist and guitarist, this remained the lineup until February 2002, when Maitland left the band and Gavin Harrison was recruited to replace him. Porcupine Tree's early sound evoked a style of psychedelic rock comparable to that of progressive rock band Pink Floyd. Upon signing with Kscope record label in the late 1990s, the band approached a more mainstream alternative rock sound. By the early 2000s, the band had signed to a major record label and shifted their sound again, this time in a more progressive metal direction. After the release and tour in support of their tenth studio album, The Incident, their biggest commercial success to date, the band became inactive as Wilson committed himself to his solo work, other members began working on their own separate projects.
In 2018, after years of indetermination, Wilson ruled out a possible reformation. During a career spanning more than 20 years, Porcupine Tree earned critical acclaim from critics and fellow musicians, developed a cult following, became an influence for new artists. However, their work stayed away from mainstream music, being described by publications such as Classic Rock and PopMatters as "the most important band you’d never heard of." Porcupine Tree originated in 1987 as a collaborative hoax project by Steven Wilson and Malcolm Stocks. Inspired by the psychedelic/progressive bands of the 1970s, such as Pink Floyd, that had dominated the music scene during their youth, the two decided to form a fictional legendary rock band named The Porcupine Tree; the two fabricated a detailed back-story including information on alleged band members and album titles, as well as a "colourful" history which purportedly included events such as a meeting at a 1970s rock festival and several trips in and out of prison.
As soon as he had put aside enough money to buy his own studio equipment, Wilson obliged this creation with several hours of music to provide "evidence" of its existence. Although Stocks provided a few passages of treated vocals and experimental guitar playing, his role in the project was offering occasional ideas, with the bulk of the material being written, recorded and sung by Wilson. At this point, Porcupine Tree was little more than a joke and a private amusement, as Wilson was concentrating on his other project, No-Man, an endeavour with UK based singer and songwriter Tim Bowness. However, by 1989, he began to consider some of the Porcupine Tree music as marketable. Wilson created an 80-minute-long cassette titled Tarquin's Seaweed Farm under the name of Porcupine Tree. Still showing the spirit of his joke, Wilson included an eight-page inlay which further revealed the hoaxed Porcupine Tree backstory, including references to fictitious band members such as Sir Tarquin Underspoon and Timothy Tadpole-Jones.
Wilson sent out copies of Tarquin's Seaweed Farm to several people he felt would be interested in the recordings. Nick Saloman, the cult UK guitarist better known as The Bevis Frond, had suggested that he send one to Richard Allen, a writer for the UK counter-cultural magazine Encyclopaedia Psychedelica and co-editor of the UK psychedelic garage rock magazine Freakbeat. Allen reviewed the tape in both magazines. Whilst he disliked some of the material, he gave much of it a positive review. Several months Allen invited Wilson to contribute a track to the double LP A Psychedelic Psauna, being put together to launch the new Delerium label. Allen would become the band's manager, press agent, promoter until 2004, his role in marketing the band's image decreasing after The Sky Moves Sideways album. In the meantime, Wilson had continued to work on new material. In 1990, he released the Love, Death & Mussolini EP, issued in a limited run of 10 copies; the EP remains an rare, collectible piece. It was composed as a preview for the upcoming second album.
In 1990, Wilson released a second full-length Porcupine Tree cassette called The Nostalgia Factory, which further expanded Porcupine Tree's underground fanbase, although at this point, the band was still carrying on the charade of being 1970s rock legends. By this point, Porcupine Tree was a solo project, with Stocks having amicably moved on to other activities. Along with the A Psychedelic Psauna compilation, which featured the Porcupine Tree track "Linton Samuel Dawson", the newly formed Delerium label, formed by Freakbeat editors Richard Allen and Ivor Trueman, offered to reissue the cassettes Tarquin's Seaweed Farm and The Nostalgia Factory. Two hundred copies of each cassette were sold through Freakbeat's mail order, The Freak Emporium, soon Porcupine Tree became known as a mysterious new act amongst the UK underground psychedelic music scene. Shortly thereafter, Delerium invited Wilson to sign as one of the label's founder artists; the first release after this, a double vinyl album and single CD compiling the best material from his two cassettes, was released in mid-1992 as On the Sunday of Life, a title chosen from a long list of possible nonsense titles compiled by Richard Allen.
The rest of the music from the initial tapes was released on the limited edition compilation album Yellow Hedgerow Dreamscape. In 1992, Delerium released On the Sunday of Life as an edition of 1,000 copies, complete with a deluxe gatefold sleeve; the album sold well in Italy, it was repressed on vinyl