Track 2: The Land Of Green Ginger (3:57) This sets the scene for the rest of the album - mellow and melodic. I didn't really like this track much when I heard it on the "Back To Mine" album - I thought it was a little too "Orb by numbers" (like "Red Worm")... ...but this version is MUCH better. It's better realised, filled out more, better mixed, and about a minute longer. Now I like it. ;-o Track 3: Hell's Kitchen (5:26) The track starts with what sounds like a church organ, before kicking off into some heavy bass sounds with regular trumpet stabs scattered throughout the track. On first play it could pass you by, but it gets better with repeated listening. Track 4: Gee Strings (6.39) Different to the version on the Kompassion EP - again, more filled out than the earlier version, about a minute and a half longer, and definitely an improvement. More up-tempo than the previous two tracks, with more of a dubby feel than the original and a one word (not that I can work out what the word actually is) vocal refrain throughout. Definitely an improvement, but one of the weakest tracks on the album, as far as I'm concerned. Track 5: Prime Evil (5.16) A real bass-thumper - I first played it on my car stereo, and nearly blew the back windscreen out as I had the bass turned up to 11 - with some "jazz-ish" keyboards at the start... ...but not for long, as the main vocal sample soon kicks in, and the track start to become a little like "S.A.L.T, Pt II". A "manic" speaker, railing against the world and "...the hell I've suffered.", with a progressive bass chord sequence about two-thirds of the way in very similar to that in "S.A.L.T.". Great track. Play it loud! Although not as good as "S.A.L.T." (which is one of my all-time favourite Orb tracks) - this is currently my favourite track on the album, followed by... Track 6: Orb Is (3:28) Another more "up-tempo, but mellow" tracks. Loads of short vocal samples (film clip, politicians, etc), and fairly "classic" Orb. Other people could look more deeply into the track name, and see a statement of intent ("this is where we are right now") - but I'll leave that to people better qualified than me... Track 7: Now Here (5:19) "Spooky"-sounding synths, and window-shaking sub-bass. Very slow, and very mellow. It won't be a *massive* loss to the non-Japanese issues, as the album flows fine without it, but now we all know that it exists... (part 3 to follow...)