4 HeroTwo Pages


Chapter One
Double BassAndy Hamill
DrumsLuke Parkhouse
Electric Piano [Rhodes], Programmed By [Programming], Effects [FX]4 Hero
FeaturingUrsula Rucker
ViolaSally Ward
Voice [Operatic Tones]Face, Jill Alexandra
Words By [Spoken Word]Ursula Rucker
A2Golden Age Of Life
Bass, Acoustic GuitarLeon Mar
CelloHelen L. Thomas*
DrumsLuke Parkhouse
Lead VocalsCarol Crosby
PercussionBrad Munn
Synthesizer [Mini Moog], Piano, Electric Piano [Rhodes], Programmed By [Programming]4 Hero
ViolaNaomi Fairhurst
A3Planeteria (A Theme From A Dream)
Double BassAndy Hamill
Drums, BongosLuke Parkhouse
Piano, Electric Piano [Rhodes], Electric Piano [Wurlitzer]4 Hero
SaxophoneChris Bowden
ViolaSally Ward
Voice [Operatic Tones]Samantha (3)
B1Third Stream
Bass GuitarLeon Mar
CelloAndy Nice
Double BassAndy Hamill
DrumsLuke Parkhouse
French HornJudith Goodman
Piano4 Hero
Rhythm GuitarSimon 'Da Vortexion' Wells*
SaxophoneChris Bowden
TromboneAndy Rogers (7)
TrumpetNiles Hailstone*
ViolaSophie Sarota
B2Spirits In Transit
Bass, Rhythm Guitar [Rhythm Guitars]Leon Mar
CelloAnna Chalmers
DrumsLuke Parkhouse
PercussionBrad Munn
Piano, Electric Piano [Wurlitzer], Synthesizer [Moog], Programmed By [Programming]4 Hero
TrumpetQuinton (2)
ViolaFiona Griffith
Chapter Two
C1Escape That
Double BassAndy Hamill
Electric Piano [Rhodes], Synthesizer [Moog], Programmed By [Programming], Synth [Synths]4 Hero
French HornJudith Goodman
Lead Vocals, Backing VocalsFace
PercussionLuke Parkhouse
Piano4 Hero, Paul Weinreb
SaxophoneChris Bowden
TromboneAndy Rogers (7)
ViolaMaritza Bullock*
C2Cosmic Tree
DrumsLuke Parkhouse
GuitarLeon Mar
Percussion, Programmed By [Midi Programming]4 Hero
Synthesizer [Arp Solo]Paul Weinreb
Synthesizer [Arp, Mini Moog, Juno], Piano, Electric Piano [Rhodes], Programmed By [Programming]4 Hero
ViolaSophie Sarota
VocalsIke Obiamiwe
C3Universal Reprise
Bass GuitarLeon Mar
CelloAndy Nice
PercussionBrad Munn
SaxophoneDJ Hand
Synthesizer [Tr808, Arp Strings], Electric Piano [Rhodes], Programmed By [Programming]4 Hero
ViolaSally Ward
VocalsCarol Crosby
D1The Action
Double BassAndy Hamill
Electric Piano [Rhodes], Programmed By [Programming]4 Hero
FeaturingButterfly (3), Ish (3)
VibraphoneRoger Beaujolais
ViolaSally Ward
Voice [Operatic Tones]Wendy Weir
Written-By [Rap Written By]Butterfly (3), Ish (3)
D2Wishful Thinking
Acoustic Guitar, Bass GuitarLeon Mar
Drums, PercussionLuke Parkhouse
Electric Piano [Rhodes]Brad Munn
Lead Vocals, Backing VocalsCarol Crosby
SaxophoneChris Bowden
Synthesizer [Moog Bass, Arp Strings, Arp Oddessey]4 Hero
D3Star Chasers
CelloHelen L. Thomas*
DrumsAlex Stavv
GuitarLeon Mar
Lead Vocals, Backing VocalsFace
PercussionBrad Munn
Piano, Bass, Electric Piano [Wurlitzer, Rhodes], Programmed By [Programming]4 Hero
TrumpetQuinton (2)
ViolaFiona Griffith
Chapter Three
E1We Who Are Not As Others7:52
F1In The Shadows6:21
F2Mathematical Probability6:26
Chapter Four
G2Pegasus 516:46
H1Worlds End6:11
H4Mother Solar (Part One)0:10
H5Normal Changing World0:12

Companies, etc.


  • Arranged By [All String Arrangements By]Dego (tracks: A1 to D3), Marc Mac (tracks: A1 to D3)
  • ArtworkSami Khan, ©eed
  • Artwork [3D Rendering]Dominic Weir (2)
  • Design [Graphic Design], Artwork [Execution & Digital Expression]Sami Khan
  • Effects [All Sounds Freaked & Twisted], Programmed By [All Sounds Programmed By]4 Hero (tracks: E1 to H6)
  • EngineerLeon Mar (tracks: A1 to D3)
  • Engineer [Assistant]Brad Munn (tracks: A1 to D3)
  • Engineer [Engineered By]Dego (tracks: E1 to H6), Marc Mac (tracks: E1 to H6)
  • Engineer [Pre-production Engineering By], Programmed By [Programming By]Dego (tracks: A1 to D3), Marc Mac (tracks: A1 to D3)
  • Painting [Paintings], Typography [Organic Scribe]©eed
  • Producer [Produced By]Dego (tracks: A1 to D3), Marc Mac (tracks: A1 to D3)
  • Producer [Produced By], Arranged By4 Hero
  • Voice [Human Voice Spoken By]Peter Guinness (tracks: E1 to H6)
  • Written-By4 Hero (tracks: A1 to D1, D3 to H6), Patrice Rushen (tracks: D2), Ursula Rucker (tracks: A1)
  • Written-By [Human Voice Written By]Elliott 'Mystery' Taylor* (tracks: E1 to H6)


Gatefold sleeve.

Chapters 1 & 2:
Recorded @ da Kasbar Studio except drums on "Star Chasers" recorded @ Dollis Hill.
All pre-production engineering & programming at Dollis Hill.
All tracks produced for Reinforced Productions.
All tracks published by Reinforced music / Westbury Music.
Except "Loveless" & "The Action" published by Reinforced Music / Westbury Music / Copyright Control.
"Wishful Thinking" published by Copyright Control.
℗ 1998 Mercury Records Ltd (London). A Polygram Company.

Chapters 3 & 4:
Recorded @ Dollis Hill studio.
All tracks published by Reinforced Music / Westbury Music.
℗ 1998 Mercury Records Ltd (London). A Polygram Company.

℗ 1998 Mercury Records Ltd (London). Except Side A, chapter one, trracks 1 & 3. ℗ 1997 Mercury Records Ltd (London), chapter four, Side B ℗ 1997 Mercury Records Ltd (London).
© 1998 Mercury Records Ltd (London). A PolyGram company.
The copyright in this sound recording is owned by Mercury Records Ltd (London).

Title track D1: The Action featuring Ish aka 'Butterfly'
The title of track H1, "Worlds End", actually appears as strange symbols (aka "organic scribe" in credits) on the release.

Chapter One
A1: 158 | A2: 160 | A3: 160
B1: 123 | B2: 160
Chapter Two
C1: 161 | C2: 161 | C3: 160
D1: 94 | D2: 71/142 | D3: 140
Chapter Three
E1: 162 | E2: 120
F1: 166 | F2: 160
Chapter Four
G1: 83 | G2: 80/160
H1: 164 | H2: - | H3: 166 | H4: 129 | H5: 162 | H6: -

No track durations printed on release.

Barcode and Other Identifiers

  • Barcode: 731456887913
  • Label Code: LC 6521
  • Rights Society: BIEM
  • Rights Society: MCPS
  • Price Code: PY 287
  • Other (Side A/B labels cat#): 568 881-1
  • Other (Side C/D labels cat#): 568 883-1
  • Other (Side E/F labels cat#): 568 885-1
  • Other (Side G/H labels cat#): 568 887-1
  • Matrix / Runout (Runout side A, etched): 568 881-1 A² MPO
  • Matrix / Runout (Runout side B, etched): 568 881-1 B² MPO
  • Matrix / Runout (Runout side C, etched): 568 883-1 A² MPO
  • Matrix / Runout (Runout side D, etched): 568 883-1 B² MPO
  • Matrix / Runout (Runout side E, etched): 568 885-1 A² MPO
  • Matrix / Runout (Runout side F, etched): 568 885-1 B² MPO
  • Matrix / Runout (Runout side G, etched): 568 887-1 A² MPO
  • Matrix / Runout (Runout side H, etched): 568 887-1 B² MPO

Other Versions (5 of 21)

View All
Title (Format)LabelCat#CountryYear
Recently Edited
Two Pages (CD, Album, CD, Album, Enhanced)Talkin' Loud558 462-2UK1998
Recently Edited
Two Pages (CD, Album, CD, Enhanced, Album)Mercury, Talkin' LoudPHCR-90005/6Japan1998
Recently Edited
Two Pages (CD, Album)Mercury314 558 465-2US1998
Recently Edited
Two Pages (Album Sampler) (CD, Promo, Sampler)Talkin' LoudTIP 1UK1998
Recently Edited
Two Pages (Page One) (CD, Album, Promo)Talkin' LoudTKCJ 20UK1998



  • blofse's avatar
    Knowing the cd very well, the vinyl release shows the digital mixing and compression used during recording and is highlighted only in a couple of songs. However, the release is outstanding generally and well worth the price. Generally it's a very clean vinyl, there is a little crackle at the start and end of sides, however the music itself is very clean.
    If you love ninja tune label or XL records, then this album is basically the template those used for at least 10 years, way ahead of its time and really it only becomes more relevant with modern times and global warming.
    • d.teil's avatar
      if you really can buy this superb box for a lower price: nothing to think about. just do it.
      • jimthing's avatar
        Edited 14 years ago
        Yes, we all have our personal 'classic' LP's, but this one really is worthy of this statement.

        Before it came out in 1998, after a couple of the tracks had previously been put out on promo's and on the EP "Earth Pioneers", the anticipation for the release of the project as a whole LP reached fever-pitch amoungst the underground dance music scene on the streets of London --and probably Tokyo, Paris, NYC, etc-- so when it eventually hit the airwaves of the few radio shows who got it first (probably Gilles Peterson; who at the time was still doing A&R for his label Talkin' Loud, so had the obvious label connection !!) the reponse was massive, and though it could be said 4 Hero were a so-called 'underground' fenomenon beforehand, after "Two Pages" was released, this soon changed.
        This became evident when the LP was nominated on the shortlist for the Mercury Music Prize in 1998. Praise indeed, as the Mercury is respected as being given to only the best albums of the year that any artist releases (whatever their field; folk,dance,rap,rock ...anything) and is voted entirely on the QUALITY of the music, and not on sales which are often due more to record companies preconceived marketing campaigns rather than musical worth.

        The LP itself seems to have one main concept, if you can call it that. The 'two' pages seems to be the difference between one of light & dark, promise & futility, or put simply; opposites.
        The first page, easily the better half at that, contains tracks that embody the beauty of 1960-70s black music at it's finest --Charles Stepney productions come to mind-- whilst planting them firmly in the 21st century. Live string & brass arrangments, mixed with constantly evolving drum & percussion programming which only two veterans of the drum&bass scene could have possibly achieved, make these tracks mindblowing in their sophistication to say the least!
        It could be said that this half of the LP marks a new dawn between the live element --with actual musicians playing the acoustic instruments-- and the technical advancement machines have brought to producers on a production level, with the two sitting pretty together without any obvious seperation.

        The second page, unfortunately, is not nearly as good, as Dego & Marc Mac have abandoned the live element virtually comletely, instead opting to show-off their prowess when it comes to dark and heavy beat & percussive production; much in the vein of their Reinforced stuff, as well as their more Detriot techno productions and the like.
        Now this could be seen as a bit of a cop-out, and perhaps it is, but they really DO know how to get sounds from the studio that before this album was released no-one else had simply thought about, nevermind reached!

        As a whole this LP is simply stunning and should be more widely appreciated for the opus it is.
        It certainly opened the way for many dance scenes we have at the moment. The 'broken beat' scene in London was virtually formed on the basis of this album, with the style of the beat production 4 Hero pioneered on the LP being jumped on by admirers and ever expanded upon; Jazzanova & friends in Germany breakin' it down; as well as the amazing productions coming out of Japan from the likes of Jazztronik, Kyoto Jazz Massive & others. All with their own sound, talents, and twist on things.

        Worth a listen simply for inspiration, but also if innovation is what your after.

        (Also, a word to the wise. You need to get a copy of this on CD as well as VINYL. A nice sales ploy for the record company, I know...

        Why? Firstly, the CD comes with multimedia extras; fun for a while... but mainly because the CD puts the tracks in their natural order, as well as some of the tracks endings being mixed nicely with the beginning of the next one; which works very well in the context of the album as whole.

        The vinyl, on the other hand, has three extra tracks on the last side of the vinyl. I say 'tracks', but they are really just little ditties, which those of us who have a bad vinyl addiction can't go without now, can we ?!)


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