P.S. One of my favorite things about Escape Velocity is how much of it actually sounds vocal. At least to my ear - which is used to the magic of Bill Hare. The "guitar solos" may not sound like voices, but in context they sounds vocal - when you listen to Battle Without Honor or Humanity there is no question, for even a second, that it's being performed by singers. And that's very cool, IMO.
Even more so with Rhapsody in Blue - I find that arrangement brilliant precisely because it's so transparently vocal. The voices, and the "syllables" being used, are actually more evocative of instrumental sounds than strictly imitative of them, and that's a key difference that makes the track so cool. I don't think listeners come away from that one thinking "Look what Bill Hare can do" as much as they might from some of the other tracks. I for one came away on first listen thinking "Look what Jon Pilat can do!!!"
Which leads me to this thought: the creative growth of our genre lies as much in the hands of arrangers as those of producers. Probably much more so. Keep stepping it up, folks. =)