3054 - HER & KINGS COUNTY - 1609 (2007) (By Request)

HER & KING COUNTY
''1609
NOVEMBER 30 2006
36:08

1. To Life/2:51
2. Saturday/3:35
3. Deep Six/3:10
4. If Only/2:56
5. Sugar Pie/3:20
6. Home/2:45
7. Iroquois/3:12
8. Never Gonna Change Me/3:03
9. Still Yesterday/4:14
10. Still Love Ya/3:20
11. Knock It Down/3:42

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3053 - FOGHAT - Road Cases (1998) (By Request)

FOGHAT
''ROAD CASES''
MAY 5 1998
76:11

1 - I Just Want To Make Love To You/9:54
2 - Drivin Wheel/7:21
3 - Chevrolet/4:21
4 - Soakin' The Bone/3:59
5 - Sweet Home Chicago/7:48
6 - Rock Your House/6:06
7 - It Hurts Me Too/8:04
8 - Bad Bad Lovin'/4:13
9 - Fool For The City/5:05
10 - Slow Ride/9:23
11 - Angel Of Mercy/5:08
12 - Tear You Down/4:48

Kim Bullard /Organ
Roger Earl /Drums
Lonesome Dave Peverett /Guitar, Vocals
Rod Price /Guitar, Slide Guitar
Tony Stevens /Guitar (Bass), Vocals

REVIEW
by Bruce Eder
This 76-minute collection of live cuts from two live shows in Oregon during 1996 starts off a little ominously, in terms of the beat that the group uses on "I Just Want to Make Love to You," abut Rod Price's guitar carries the day and the group does well enough on the old blues-rock standard, stretched out to nearly ten minutes. Unfortunately, there isn't a lot of variety in the sound of Lonesome Dave Peverett's singing, which is good, but not quite good enough to sustain interest across over an hour of largely original material. The material offers some variation -- the most attractive songs here are the Chess-based material, which includes "Chevrolet," an undisguised Bo Diddley variation, but the group does better with originals like "Soakin' the Bone" (itself a Jimmy Reed rip-off). The material is well-recorded, and fans of Rod Price's guitar will definitely not feel short-changed by the mix or the mastering.

BIOGRAPHY
by Stephen Thomas Erlewine
Foghat specialized in a simple, hard-rocking blues-rock, releasing a series of best-selling albums in the mid-'70s. While the group never deviated from their basic boogie, they retained a large audience until 1978, selling out concerts across America and earning several gold or platinum albums. Once punk and disco came along, the band's audience dipped dramatically.
With its straight-ahead, three-chord romps, the band's sound was American in origin, yet the members were all natives of England. Guitarist/vocalist "Lonesome" Dave Peverett, bassist Tony Stevens, and drummer Roger Earl were members of the British blues band Savoy Brown, who all left the group in the early '70s. Upon their departure, they formed Foghat with guitarist Rod Price. Foghat moved to the United States, signing a record contract with Bearsville Records, a new label run by Albert Grossman. Their first album, Foghat, was released in the summer of 1972 and it became an album rock hit; a cover of Willie Dixon's "I Just Want to Make Love to You" even made it to the lower regions of the singles charts. For their next album, the group didn't change their formula at all -- in fact, they didn't even change the title of the album. Like the first record, the second was called Foghat; it was distinguished by a picture of a rock and a roll on the front cover. Foghat's second album was their first gold record, and it established them as a popular arena rock act. Their next six albums -- Energized (1974), Rock and Roll Outlaws (1974), Fool for the City (1975), Night Shift (1976), Foghat Live (1977), Stone Blue (1978) -- all were best-sellers and all went at least gold. "Slow Ride," taken from Fool for the City, was their biggest single, peaking at number 20. Foghat Live was their biggest album, selling over two million copies. After 1975, the band went through a series of bass players; Price left the band in 1981 and was replaced by Erik Cartwright.
In the early '80s, Foghat's commercial fortunes declined rapidly, with their last album, 1983's Zig-Zag Walk, barely making the album charts. The group broke up shortly afterward with Peverett retiring from the road. The remaining members of the band (Roger Earl, Erik Cartwright and Craig MacGregor) continued playing together as the Kneetremblers and after some line-up changes decided to revert to the Foghat name. The band toured throughout the decade and into the early 1990's. Perhaps growing tired of early retirement, Lonesome Dave formed his own version of Foghat in 1990 and hit the road. After healing their rift, the original Foghat (Peverett,Price, Stevens and Earl) reformed in 1993 and toured for years, releasing Return of the Boogie Men in 1994 and Road Cases in 1998. The original band broke apart for good with Peverett's passing due to cancer on February 7, 2000. After some time spent mourning, the band soldiered on with a new line-up (adding Charlie Huhn on vocals) and after two years of touring released Family Joules in 2002. Foghat toured for the next few years and regularly issued documents of their live act: The Official Bootleg DVD, Volume 1 in 2004 and Foghat Live II in 2007.

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3052 - DIABLO DIMES - Villains (2011) (By Request)

DIABLO DIMES
''VILLAINS''
DECEMBER 31 2011
47:09

1. Shake Baby Blues/3:47
2. Frankie Jones/3:58
3. Wicked Son House/3:27
4. Le Rogo A Los Cielos/2:29
5. So Long Blues/2:58
6. Pigeon Toe Woman Blues/2:48
7. Joint Juke Box/4:46
8. Dirty Dope Monkey Blues/3:33
9. Lowdown Heartbreaker/3:04
10. Villain Blues/4:47
11. Tain't No Crack/3:51
12. Riverside Funeral Blues/5:11
13. Wishing Well Blues/2:30

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3051 - THE CORDUROY ROAD - Love Is A War (2009) (By Request)

THE CORDUROY ROAD
''LOVE IS A WAR''
2009
41:00

1. Love Is a War/2:42
2. We Don't Dream/2:41
3. Run Away/3:15
4. So Blue/3:50
5. Four Things/4:56
6. Just One Drop/3:47
7. The Tree Bends/3:45
8. The Corduroy Road/2:22
9. Desperate Man/3:16
10. When I'm Gone/4:23
11. About a Shoe/2:40
12. Only the Living/3:23

John Cable /Drums
Andy Carlson /Fiddle
John Keane /Dobro, Guitar, Mandolin, Pedal Steel, Producer, Vocals
Bill Mallonee /Vocals
Rachel O'Neal /Vocals

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3050 - Late Last Night By ROBBY HECHT (2008) (By Request)

ROBBIE HECHT
''LATE LAST NIGHT''
2008
42:15

1. Something, Somehow/3:14
2. Last Last Night/3:42
3. Alone On a Saturday Night/3:14
4. Freight Train Lady/4:04
5. Along the Way/4:16
6. Losing You/3:08
7. My Love Was Gold/3:46
8. Chemicals/4:24
9. Two Tickets/4:31
10. A Long Time Ago (Sweet Darlin')/4:08
11. Ferris Wheel/3:50

BIOGRAPHY
by Margaret Reges
Robby Hecht formulated his earnest, Americana-tinged folk sound, one that nodded to artists like Joe Purdy and Damien Jurado, while he was a student at the University of Wisconsin-Madison. He settled in Nashville, TN, after he graduated, and spent the next few years touring the country, sharing the stage with artists like Patty Griffin and Ron Sexsmith, and snagging various songwriting awards. Hecht's debut album, Late Last Night, was released in 2008; the release was mixed by Roger Moutenot and featured appearances by some of Hecht's songwriting buddies, including Mandy Smith, Thad Cockrell, John Deaderick, and Andrea Zonn.

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3049 - ROBBIE FULKS - Revenge!, Disc Two (2007) (By Request)

ROBBIE FULKS
''REVENGE, DISC TWO''
MAY 1 2007
84:32

DISC ONE
1. We're On The Road/3:30
2. You Shouldn't Have/4:15
3. Fixin' To Fall/2:54
4. Mad At A Girl/3:41
5. The Buck Starts Here/4:32
6. Goodbye, Good-Lookin'/3:09
7. Busy Not Crying/3:15
8. You Don't Mean It (soundcheck)/3:56
9. Rock Bottom, Pop. 1/2:48
10. Cigarette State/4:41
11. Let's Kill Saturday Night/3:27

DISC TWO
1. Introductory Remarks by Amy Warren/0:17
2. That's A Good Enough Reason/4:09
3. Believe/3:44
4. In Bristol Town One Bright Day/5:39
5. I Wanna Be Mama'd/6:16
6. Fake Jews Everywhere/The Death of Enthusiasm/2:53
7. I Like Being Left Alone/3:14
8. Bluebirds Are Singing For Me/3:33
9. On A Real Good Day/5:08
10. President Garfield's Hornpipe/Suza/4:42
11. Kelly Hogan's Looking Hot/Closing Remarks/0:52
12. Away Out On The Old Saint Sabbath/3:57

Gerald Dowd /Drums, Percussion, Vocals
Casey Driessen /Fiddle, Guest Artist
Mike Fredrickson /Guitar (Bass), Vocals
Robbie Fulks /Audio Production, Guitar, Guitar (Acoustic), Vocals
Geroald Dowd /Drums
Robbie Gjersoe /Guitar
Kelly Hogan /Vocals
Mike Fredrickson /Guitar (Bass)
Don Stiernberg /Mandolin, Vocals
Joe Terry /Guest Artist, Keyboards
Grant Tye /Guitar (Electric), Vocals
John Williams /Accordion

REVIEW
by Mark Deming
On the opening cut of Robbie Fulks' album Revenge, Fulks and his band are interrupted while singing about the dubious joys of life on tour by a phone call from one of the head honchos at Yep Roc Records, who informs Fulks that the label wants a new record, but it has to be delivered fast and cheap since his previous effort didn't move that many units. All of which serves as a curious but entertaining set-up for this double-disc live album, divided into a "Standing" set with a full electric band and a "Sitting" acoustic set featuring minimal accompaniment. Exactly who Robbie Fulks is wreaking vengeance upon (beyond the larger music-buying public who have failed to make him wealthy and famous) is never made clear, but this album is an accurate re-creation of the "Live Robbie Fulks Experience" for the fans at home. Fulks and his band are in superb form on disc one, especially guitarist Grant Tye and drummer Gerald Dowd, sounding tight and sympathetic as they swing from the weepy "The Buck Starts Here" to the swinging "Cigarette State" and closing out with the high-test rock & roll of "Let's Kill Saturday Night." The acoustic disc is no less accomplished, if a bit less user friendly, as it features both a Cher cover ("Believe") and an enthusiastic celebration of misanthropy ("I Like Being Left Alone"), though Fulks' duet with Kelly Hogan on the Carter Family's "Away out on the Old Saint Sabbath" is beautiful stuff. On a good night, Fulks is one of the most exciting and entertaining singer/songwriters to emerge from the alt country scene with a band to match, and Revenge documents two very good shows with Fulks and his compatriots firing on all cylinders, even if his curiously smug sense of humor intrudes upon the proceedings every once in a while.

BIOGRAPHY
by Steve Huey
Singer/songwriter Robbie Fulks was one of the more heralded talents in the alternative country movement, displaying an offbeat, sometimes dark sense of humor in many of his best moments. As time passed, Fulks moved away from the country twang of his early work and into a crunchier roots rock hybrid. Fulks divided his childhood between Pennsylvania, Virginia, and North Carolina, and received his schooling at Columbia University. He moved to Chicago in 1983 and first served as vocalist and guitarist in bluegrass band the Special Consensus, appearing on their Grammy-nominated 1989 album A Hole in My Heart. He later performed in the musical revue Woody Guthrie's American Song and formed his own rock band, the Trailer Trash Revue, with whom he cut a locally popular single, "Little King" b/w "Jean Arthur."
Fulks got his first significant exposure via Bloodshot Records' 1994 compilation Insurgent Country, Vol. 1: For a Life of Sin, which included his track "Cigarette State"; the 1995 follow-up, Insurgent Country, Vol. 2: Hell-Bent, featured Fulks' "She Took a Lot of Pills (And Died)." Both cuts were produced by Steve Albini, who also helmed Fulks' Bloodshot debut, Country Love Songs, in 1996. The album received highly positive reviews and featured backing from roots rockers the Skeletons, as well as former Buck Owens steel guitarist Tom Brumley. The follow-up, South Mouth, took a similarly retro-minded approach, drawing from classic honky tonk and Bakersfield country. With a growing cult reputation, Fulks earned a major-label shot with Geffen, but many critics felt that his 1998 label debut, Let's Kill Saturday Night, undermined the organic strengths of his previous work with overly slick roots rock production. A merger between Universal and PolyGram shortly after the release of Let's Kill Saturday Night led to a gutting of the Geffen artist roster, and the album died on the vine as Fulks found himself without a label.
Fulks opted to start his own label, Boondoggle Records, distributed by his friends at Bloodshot, and launched it with The Very Best of Robbie Fulks, a facetiously titled collection of demos and unreleased recordings. In 2001, Fulks followed with 13 Hillbilly Giants, in which he covered a bakers' dozen songs of the 1950s and '60s, and later that year he issued his most ambitious set to date, Couples in Trouble, a bleak but compelling collection of original songs about a variety of failing relationships that found Fulks adding new dimensions to his interest in rock and left-field pop. In 2005, Fulks signed to the roots-oriented Yep Roc label and dug back into his country roots with his first album for the label, Georgia Hard. It was followed by the live collection Revenge in 2007.

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3048 - ROBBIE FULKS - Revenge!, Disc One (2007) (By Request)

ROBBIE FULKS
''REVENGE, DISC ONE''
MAY 1 2007
84:32

DISC ONE
1. We're On The Road/3:30
2. You Shouldn't Have/4:15
3. Fixin' To Fall/2:54
4. Mad At A Girl/3:41
5. The Buck Starts Here/4:32
6. Goodbye, Good-Lookin'/3:09
7. Busy Not Crying/3:15
8. You Don't Mean It (soundcheck)/3:56
9. Rock Bottom, Pop. 1/2:48
10. Cigarette State/4:41
11. Let's Kill Saturday Night/3:27

DISC TWO
1. Introductory Remarks by Amy Warren/0:17
2. That's A Good Enough Reason/4:09
3. Believe/3:44
4. In Bristol Town One Bright Day/5:39
5. I Wanna Be Mama'd/6:16
6. Fake Jews Everywhere/The Death of Enthusiasm/2:53
7. I Like Being Left Alone/3:14
8. Bluebirds Are Singing For Me/3:33
9. On A Real Good Day/5:08
10. President Garfield's Hornpipe/Suza/4:42
11. Kelly Hogan's Looking Hot/Closing Remarks/0:52
12. Away Out On The Old Saint Sabbath/3:57

Gerald Dowd /Drums, Percussion, Vocals
Casey Driessen /Fiddle, Guest Artist
Mike Fredrickson /Guitar (Bass), Vocals
Robbie Fulks /Audio Production, Guitar, Guitar (Acoustic), Vocals
Geroald Dowd /Drums
Robbie Gjersoe /Guitar
Kelly Hogan /Vocals
Mike Fredrickson /Guitar (Bass)
Don Stiernberg /Mandolin, Vocals
Joe Terry /Guest Artist, Keyboards
Grant Tye /Guitar (Electric), Vocals
John Williams /Accordion

REVIEW
by Mark Deming
On the opening cut of Robbie Fulks' album Revenge, Fulks and his band are interrupted while singing about the dubious joys of life on tour by a phone call from one of the head honchos at Yep Roc Records, who informs Fulks that the label wants a new record, but it has to be delivered fast and cheap since his previous effort didn't move that many units. All of which serves as a curious but entertaining set-up for this double-disc live album, divided into a "Standing" set with a full electric band and a "Sitting" acoustic set featuring minimal accompaniment. Exactly who Robbie Fulks is wreaking vengeance upon (beyond the larger music-buying public who have failed to make him wealthy and famous) is never made clear, but this album is an accurate re-creation of the "Live Robbie Fulks Experience" for the fans at home. Fulks and his band are in superb form on disc one, especially guitarist Grant Tye and drummer Gerald Dowd, sounding tight and sympathetic as they swing from the weepy "The Buck Starts Here" to the swinging "Cigarette State" and closing out with the high-test rock & roll of "Let's Kill Saturday Night." The acoustic disc is no less accomplished, if a bit less user friendly, as it features both a Cher cover ("Believe") and an enthusiastic celebration of misanthropy ("I Like Being Left Alone"), though Fulks' duet with Kelly Hogan on the Carter Family's "Away out on the Old Saint Sabbath" is beautiful stuff. On a good night, Fulks is one of the most exciting and entertaining singer/songwriters to emerge from the alt country scene with a band to match, and Revenge documents two very good shows with Fulks and his compatriots firing on all cylinders, even if his curiously smug sense of humor intrudes upon the proceedings every once in a while.

BIOGRAPHY
by Steve Huey
Singer/songwriter Robbie Fulks was one of the more heralded talents in the alternative country movement, displaying an offbeat, sometimes dark sense of humor in many of his best moments. As time passed, Fulks moved away from the country twang of his early work and into a crunchier roots rock hybrid. Fulks divided his childhood between Pennsylvania, Virginia, and North Carolina, and received his schooling at Columbia University. He moved to Chicago in 1983 and first served as vocalist and guitarist in bluegrass band the Special Consensus, appearing on their Grammy-nominated 1989 album A Hole in My Heart. He later performed in the musical revue Woody Guthrie's American Song and formed his own rock band, the Trailer Trash Revue, with whom he cut a locally popular single, "Little King" b/w "Jean Arthur."
Fulks got his first significant exposure via Bloodshot Records' 1994 compilation Insurgent Country, Vol. 1: For a Life of Sin, which included his track "Cigarette State"; the 1995 follow-up, Insurgent Country, Vol. 2: Hell-Bent, featured Fulks' "She Took a Lot of Pills (And Died)." Both cuts were produced by Steve Albini, who also helmed Fulks' Bloodshot debut, Country Love Songs, in 1996. The album received highly positive reviews and featured backing from roots rockers the Skeletons, as well as former Buck Owens steel guitarist Tom Brumley. The follow-up, South Mouth, took a similarly retro-minded approach, drawing from classic honky tonk and Bakersfield country. With a growing cult reputation, Fulks earned a major-label shot with Geffen, but many critics felt that his 1998 label debut, Let's Kill Saturday Night, undermined the organic strengths of his previous work with overly slick roots rock production. A merger between Universal and PolyGram shortly after the release of Let's Kill Saturday Night led to a gutting of the Geffen artist roster, and the album died on the vine as Fulks found himself without a label.
Fulks opted to start his own label, Boondoggle Records, distributed by his friends at Bloodshot, and launched it with The Very Best of Robbie Fulks, a facetiously titled collection of demos and unreleased recordings. In 2001, Fulks followed with 13 Hillbilly Giants, in which he covered a bakers' dozen songs of the 1950s and '60s, and later that year he issued his most ambitious set to date, Couples in Trouble, a bleak but compelling collection of original songs about a variety of failing relationships that found Fulks adding new dimensions to his interest in rock and left-field pop. In 2005, Fulks signed to the roots-oriented Yep Roc label and dug back into his country roots with his first album for the label, Georgia Hard. It was followed by the live collection Revenge in 2007.

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3047 - ROBBIE FULKS - The Very Best Of Robbie Fulks (2000) (By Request)

ROBBIE FULKS
''THE VERY BEST OF ROBBIE FULKS''
JANUARY 18 2000
42:29

1. Jean Arthur/2:44
2. Sleepin' on the Job of Love/2:10
3. Roots Rock Weirdos/3:53
4. May the Best Man Win/2:24
5. Hamilton County Breakdown/2:56
6. Gravid and Tense/0:30
7. Parallel Bars/3:07
8. Love Ain't Nothin'/2:42
9. I Just Want to Meet the Man/4:22
10. Wedding of the Bugs (live)/1:43
11. You Break it, You Pay/2:23
12. White Man's Bourbon/5:06
13. That Bangle Girl/3:00
14. Jello Goodbye/5:29

Greg Cahill /Banjo
Paul Carestia /Pedal Steel
Tuey Connell /Guitar
Jim DeWan /Guitar
Jerry Eliason /Bass
Brad Fordham /Bass
Robbie Fulks /Guitar, Vocals, Vocals (Background)
Rob Gjersoe /Guitar, Vocals
Laura Lee /Loop
Randy Lee /Guitar
Dan Massey /Drums
John Mossman /Multi Instruments
Al Murphy /Fiddle
Marty Muse /Pedal Steel
Lorne Rall /Bass
Brett Simons /Bass (Upright)
Joe Terry /Piano
Clinton Thompson /Guitar
Grant Tye /Dobro
Dallas Wayne /Bass
Kelly Willis /Guest Artist, Vocals

REVIEW
by Matt Fink
Indicative of Robbie Fulks' sly sense of humor, The Very Best of Robbie Fulks is nothing of the sort, but a collection of tracks culled from EPs, promos, limited-release 45s, soundtracks, and various obscure compilations. While much of the material is probably meant to be a little more fun than serious, with Fulks adding humorous self-effacing humor in the liner notes, there is some truly first-rate material here. The very strong country ballad "I Just Want to Meet the Man" and the frantic mock rockabilly of "Roots Rock Weirdoes" make for very entertaining listening. "Parallel Bars," a nice duet with Kelly Willis, and the catchy straightforward rock of "Wedding of the Bugs" also should not be missed. "That Bangle Girl," which Fulks mentions as being a personal favorite, is an absolutely essential piece of sharp country-rock bliss that ranks well with anything he's ever written. While everything here may not always be in the best taste (the rather low-brow "White Man's Bourbon" comes to mind), the material is generally consistent enough for it to be possible that a few first-time listeners could mistake this for an actual greatest-hits collection.

BIOGRAPHY
by Steve Huey
Singer/songwriter Robbie Fulks was one of the more heralded talents in the alternative country movement, displaying an offbeat, sometimes dark sense of humor in many of his best moments. As time passed, Fulks moved away from the country twang of his early work and into a crunchier roots rock hybrid. Fulks divided his childhood between Pennsylvania, Virginia, and North Carolina, and received his schooling at Columbia University. He moved to Chicago in 1983 and first served as vocalist and guitarist in bluegrass band the Special Consensus, appearing on their Grammy-nominated 1989 album A Hole in My Heart. He later performed in the musical revue Woody Guthrie's American Song and formed his own rock band, the Trailer Trash Revue, with whom he cut a locally popular single, "Little King" b/w "Jean Arthur."
Fulks got his first significant exposure via Bloodshot Records' 1994 compilation Insurgent Country, Vol. 1: For a Life of Sin, which included his track "Cigarette State"; the 1995 follow-up, Insurgent Country, Vol. 2: Hell-Bent, featured Fulks' "She Took a Lot of Pills (And Died)." Both cuts were produced by Steve Albini, who also helmed Fulks' Bloodshot debut, Country Love Songs, in 1996. The album received highly positive reviews and featured backing from roots rockers the Skeletons, as well as former Buck Owens steel guitarist Tom Brumley. The follow-up, South Mouth, took a similarly retro-minded approach, drawing from classic honky tonk and Bakersfield country. With a growing cult reputation, Fulks earned a major-label shot with Geffen, but many critics felt that his 1998 label debut, Let's Kill Saturday Night, undermined the organic strengths of his previous work with overly slick roots rock production. A merger between Universal and PolyGram shortly after the release of Let's Kill Saturday Night led to a gutting of the Geffen artist roster, and the album died on the vine as Fulks found himself without a label.
Fulks opted to start his own label, Boondoggle Records, distributed by his friends at Bloodshot, and launched it with The Very Best of Robbie Fulks, a facetiously titled collection of demos and unreleased recordings. In 2001, Fulks followed with 13 Hillbilly Giants, in which he covered a bakers' dozen songs of the 1950s and '60s, and later that year he issued his most ambitious set to date, Couples in Trouble, a bleak but compelling collection of original songs about a variety of failing relationships that found Fulks adding new dimensions to his interest in rock and left-field pop. In 2005, Fulks signed to the roots-oriented Yep Roc label and dug back into his country roots with his first album for the label, Georgia Hard. It was followed by the live collection Revenge in 2007.

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3046 - ROBBIE FULKS - Country Love Songs (1996) (By Request)

ROBBIE FULKS
''COUNTRY LOVE SONGS''
1996
38:14

1. Every Kind of Music But Country/2:18
2. Rock Bottom, Population 1/2:39
3. The Buck Starts Here/3:44
4. (I Love) Nickels and Dimes/3:07
5. Barely Human/3:47
6. I'd Be Lonesome/2:47
7. She Took A Lot of Pills [and Died]/2:43
8. We'll Burn Together/2:51
9. Let's Live Together/3:01
10. The Scrapple Song/2:45
11. Pete Way's Trousers/2:34
12. Tears Only Run One Way/2:49
13. Papa Was a Steel-Headed Man/3:27

Keith Baumann /Lap Steel Guitar
Tom Brumley /Pedal Steel
Casey Driessen /Fiddle
Robbie Fulks /Guitar, Vocals
Bobby Lloyd Hicks /Drums
Ora Jones /Vocals
Steve Rosen /Fiddle, Vocals (Background)
Brett Simons /Bass
The Skeletons /Guest Artist, Vocals (Background)
Joe Terry /Keyboards, Piano
D. Clinton Thompson /Guitar (Electric)
Lou Whitney /Guitar (Bass)
Darren Wilcox /Bass

REVIEW
by Jack Leaver
Robbie Fulks is cleverly twisted, deliciously irreverent, and one of the best of the new country singer/songwriters. Musically, Country Love Songs supplies plenty of hardcore, bottle-tippin', honky tonk country, with a '50s production that sounds like it's supposed to be there. Fulks writes and sings country music that bears little or no resemblance to what dominates the airwaves; rather, his material harks back to an era when humor and dark subject matter shared the same page of a writer's composition book. Paying homage to the classic Bakersfield sound, with former Buckeroo Tom Brumley shining on pedal steel, Fulks delivers "The Buck Starts Here," which just might be the best country song since "He Stopped Loving Her Today." Lyrically, Fulks can travel some pretty spooky highways, as in the descriptive ballad "Barely Human," a drinking song that's as tortured as they get, with the song's character "barely human from twilight till dawn." Other strong tracks include the saga of an aging movie starlet who loses it in "She Took a Lot of Pills (And Died)" -- which first appeared on the second volume of the label's Insurgent Country compilations -- and the swingin' "Every Kind of Music But Country."

BIOGRAPHY
by Steve Huey
Singer/songwriter Robbie Fulks was one of the more heralded talents in the alternative country movement, displaying an offbeat, sometimes dark sense of humor in many of his best moments. As time passed, Fulks moved away from the country twang of his early work and into a crunchier roots rock hybrid. Fulks divided his childhood between Pennsylvania, Virginia, and North Carolina, and received his schooling at Columbia University. He moved to Chicago in 1983 and first served as vocalist and guitarist in bluegrass band the Special Consensus, appearing on their Grammy-nominated 1989 album A Hole in My Heart. He later performed in the musical revue Woody Guthrie's American Song and formed his own rock band, the Trailer Trash Revue, with whom he cut a locally popular single, "Little King" b/w "Jean Arthur."
Fulks got his first significant exposure via Bloodshot Records' 1994 compilation Insurgent Country, Vol. 1: For a Life of Sin, which included his track "Cigarette State"; the 1995 follow-up, Insurgent Country, Vol. 2: Hell-Bent, featured Fulks' "She Took a Lot of Pills (And Died)." Both cuts were produced by Steve Albini, who also helmed Fulks' Bloodshot debut, Country Love Songs, in 1996. The album received highly positive reviews and featured backing from roots rockers the Skeletons, as well as former Buck Owens steel guitarist Tom Brumley. The follow-up, South Mouth, took a similarly retro-minded approach, drawing from classic honky tonk and Bakersfield country. With a growing cult reputation, Fulks earned a major-label shot with Geffen, but many critics felt that his 1998 label debut, Let's Kill Saturday Night, undermined the organic strengths of his previous work with overly slick roots rock production. A merger between Universal and PolyGram shortly after the release of Let's Kill Saturday Night led to a gutting of the Geffen artist roster, and the album died on the vine as Fulks found himself without a label.
Fulks opted to start his own label, Boondoggle Records, distributed by his friends at Bloodshot, and launched it with The Very Best of Robbie Fulks, a facetiously titled collection of demos and unreleased recordings. In 2001, Fulks followed with 13 Hillbilly Giants, in which he covered a bakers' dozen songs of the 1950s and '60s, and later that year he issued his most ambitious set to date, Couples in Trouble, a bleak but compelling collection of original songs about a variety of failing relationships that found Fulks adding new dimensions to his interest in rock and left-field pop. In 2005, Fulks signed to the roots-oriented Yep Roc label and dug back into his country roots with his first album for the label, Georgia Hard. It was followed by the live collection Revenge in 2007.

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3045 - PHIL PRITCHETT AND THE FULL BAND - Corpus Christi Live!, Disc Two (2012) (By Request)

PHIL PRITCHETT AND THE FULL BAND
''CORPUS CHRISTI LIVE!, DISC TWO''
MARCH 6 2012
108:15

DISC ONE
1. Song of the Doorman (Live)/5:15
2. Mona Lisa, Move Closer (Live)/3:30
3. God Save the King (Live)/4:08
4. Find My Own Way (and Be Happy With Where I Go) [Live]/3:32
5. Girl of All Seasons (Live)/4:02
6. I Will Get to You (Live)/6:02
7. The Bullfighter Returns (Live)/6:27
8. Luke Skywalker and Indiana Jones (Live)/9:40
9. Psycho Killer (Live)/4:32
10. All I Want to Do Is... (Live)/8:36

DISC TWO
11. No One Loves You Like Your Mother Does (Live)/4:28
12. Bruising Sheetrock (Live)/5:24
13. High Tide in the Heartland (Live)/4:50
14. Maria (Live)/14:58
15. Released (Live)/6:08
16. Locks (Live)/5:13
17. Tougher Than the Rest (Live)/5:23

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3044 - PHIL PRITCHETT AND THE FULL BAND - Corpus Christi Live!, Disc One (2012) (By Request)

PHIL PRITCHETT AND THE FULL BAND
''CORPUS CHRISTI LIVE!, DISC ONE''
MARCH 6 2012
108:15

DISC ONE
1. Song of the Doorman (Live)/5:15
2. Mona Lisa, Move Closer (Live)/3:30
3. God Save the King (Live)/4:08
4. Find My Own Way (and Be Happy With Where I Go) [Live]/3:32
5. Girl of All Seasons (Live)/4:02
6. I Will Get to You (Live)/6:02
7. The Bullfighter Returns (Live)/6:27
8. Luke Skywalker and Indiana Jones (Live)/9:40
9. Psycho Killer (Live)/4:32
10. All I Want to Do Is... (Live)/8:36

DISC TWO
11. No One Loves You Like Your Mother Does (Live)/4:28
12. Bruising Sheetrock (Live)/5:24
13. High Tide in the Heartland (Live)/4:50
14. Maria (Live)/14:58
15. Released (Live)/6:08
16. Locks (Live)/5:13
17. Tougher Than the Rest (Live)/5:23

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3043 - MOUNT MORIAH (2011) (By Request)

MOUNT MORIAH
''MOUNT MORIAH''
APRIL 12 2011
34:40

1. Only Way Out/5:11
2. Social Wedding Rings/4:23
3. Plane/3:02
4. Lament/2:33
5. Old Gowns/5:41
6. Reckoning/4:54
7. We Don't Need That Much/2:46
8. Hail, Lightning/6:10

Phil Cook /Banjo
Jeff Crawford /Bass, Bass (Upright)
Bibis Ellison /Vocals (Background)
Ryan Gustafson /Bass
Daniel Hart /Violin
Eric Haugen /Pedal Steel
Heather McEntire /Guitar, Handclapping, Sleigh Bells, Tambourine, Vocals
Jenks Miller /Bass, Guitar, Guitar (Acoustic), Guitar (Resonator), Handclapping
Mark Simonsen /Guitar
James Wallace /Drums, Guitar, Handclapping, Organ, Piano, Shaker, Vocals (Background)
Jenny Waters /Vocals (Background)

REVIEW
by Ned Raggett
On their debut album under the Mount Moriah name, following an earlier incarnation as Un Deux Trois, the duo of Heather McEntire and Jenks Miller take a turn toward classic rock and ramble -- perhaps surprising to anyone who only knows Miller through his black metal work -- in an utterly early 21st century moment with their easygoing approach to entrapping an idea of genre. (And frankly, Miller does a better job exploring this approach than My Morning Jacket does black metal, say.) Mount Moriah's primary voice, though, belongs to McEntire, who sings lead and plays while Miller and a wide-ranging group of fellow performers, from a variety of acts including Megafaun, St. Vincent, and Bowerbirds, contribute throughout. Inasmuch as any general approach has its stylistic traits, Mount Moriah's work is sometimes more enjoyable rather than remarkable. But the second song, "Social Wedding Rings," shifts to a sharp and slick feeling that's less 1971 backwoods than 1981 barroom, a little recapturing of that era's suppler AOR in McEntire's moody singing, his sharp portrayal of a troubled relationship, and the swift drive of the song. It signals that this disc isn't going to simply be yet another all-out fetishizing of Gram Parsons and Emmy Lou Harris, but the bulk of the album definitely tries to find a way to make those tropes relevant once more. Happily, the partnership succeeds more often than not, with a song like "Old Gowns" letting them put their own quietly dramatic stamp on the proceedings; McEntire is in excellent voice here, while the slow, steady arrangement of acoustic guitar, quiet organ, and violin easily calls to mind a distant, lost dance filmed in sepia tone. The short and contemplative "Honey, We Don't Need That Much" is another winner, a gentle call for hope that's always been a mainstay for any couple up against it in a cruel world that suits 2011 all too well, sadly, but that makes both the sentiment and the gentle arrangement, down to the organ break, a melancholic winner.

BIOGRAPHY
by James Christopher Monger
North Carolina-based alt-Americana outfit Mount Moriah blend the neo-traditional indie folk of the Low Anthem with the fire and brimstone of Sixteen Horsepower. Formed in the late 2000s by Heather McEntire and Jenks Miller, both of whom had spent considerable time at the opposite end of the folk spectrum as members of Bellafea (post-punk) and Horseback (psych-metal), respectively, the project grew out the pair's long friendship and shared love of American folk music. Steeped in the dark, misty mountain lore of their Appalachian homeland and brimming with the fuzzed-out dark twang of their pasts, McEntire and Miller released The Letting Go in 2010, followed by an eponymous full-length outing in 2011, the latter of which featured guest spots from some of the region's finest players, including members of St. Vincent and Megafaun. Mount Moriah signed with venerable indie label Merge in late 2012 and had their album re-released on limited-edition vinyl in October of that year.

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3042 - THE GUESS WHO - This Time Long Ago: The Lost Sessions 1967-68, Disc Two (2001) (By Request)

THE GUESS WHO
''THIS TIME LONG AGO, DISC TWO''
JULY 12 2001
95:13

DISC ONE
1. His Girl (Johnny Cowell) - 2:57
2. It's My Pride (Randy Bachman) - 2:49
3. If You Don't Want Me (Burton Cummings) - 3:05
4. Croyez-Moi (Randy Bachman) - 3:03
5. His Girl (Johnny Cowell) - 3:03
6. This Time Long Ago (Jimmy Stewart, Jerry Langley) - 2:26
7. Flying On The Ground Is Wrong (Neil Young) - 2:38
8. There's No Getting Away From You (Randy Bachman) - 2:53
9. Miss Felicity Grey (J. Stewart, J. Langley) - 2:19
10.Summertime Blues (Eddie Cochran, Jerry Capehart) - 3:47
11.Love Is All Around (Reg Presley) - 2:49
12.Sitar Saga (Randy Bachman) - 4:43
13.Pretty Blue Eyes (Teddy Randazzo, Robert Wilding) - 2:36
14.Pretty Blue Eyes (Alternate Take) (T. Randazzo, R. Wilding) - 2:35
15.We're Coming To Dinner (R.Bachman, B. Cummings) - 2:55

DISC TWO
1. Light My Fire (Acoustic Version) (Densmore, Krieger, Manzarek, Morrison) - 3:21
2. Light My Fire (Densmore, Krieger, Manzarek, Morrison) - 2:55
3. Shadows Cross The Shadows (Burton Cummings) - 4:15
4. These Eyes (R. Bachman, B. Cummings) - 3:42
5. Wednesday In Your Garden (Randy Bachman) - 3:23
6. When Friends Fall Out (R. Bachman, B. Cummings) - 2:57
7. Maple Fudge (R. Bachman, B. Cummings) - 1:54
8. I Found Her In A Star (Burton Cummings) - 2:09
9. 6 a.m. Or Nearer (Randy Bachman) - 3:58
10.I'm In The Mood For Love (Dorothy Fields, Jim McHugh) - 4:08
11.White Room (Pete Brown, Jack Bruce) - 4:31
12.Of A Dropping Pin (R. Bachman, B. Cummings) - 2:22
13.Friends Of Mine (Randy Bachman, Burton Cummings) - 11:00

Randy Bachman/Guitar, Vocals
Burton Cummings/Piano, Vocals
Jim Kale/Bass
Garry Peterson/Drums

REVIEW
by Richie Unterberger
In the CD era, the catalog of the pre-Wheatfield Soul Guess Who has been very hard to come by. Together with Sundazed's Shakin' All Over! (which focuses on their hardest-rocking mid-'60s cuts), this two-CD Canadian collection of rare and unreleased 1967-1968 recordings fills in the gap well. A few of these songs did appear on non-LP Canadian and/or U.K. singles, like the devastating garage punkers "It's My Pride" and "If You Don't Want Me" (which are also on the Sundazed comp); the sappy 1967 ballad "His Girl," heard here in two versions, which was actually a minor British hit; "Flying on the Ground Is Wrong," one of the first (if not the first) covers of a Neil Young song; and unbelievably awful versions of Steve Lawrence's "Pretty Blue Eyes," recorded by the band in an attempt to get their label to release them from their contract. ("Croyez-Moi," an awkward French version of their 1966 single "Believe Me," appears for the first time here.) Most of this set, however, is devoted to unreleased material, recorded in 1967 and 1968 in the studios for CBC TV shows. Some of those performances are marginalia, like the almost note-faithful cover versions of "Light My Fire," "White Room," and "Love Is All Around," and the psychedelic instrumental "Sitar Saga." Much of disc two, however, is devoted to late-'60s originals that find the band starting to arrive at their own hard pop/rock identity, including early versions of four songs apiece from Wheatfield Soul and Canned Wheat. The standouts are early versions of "These Eyes" and the Doors-ish psychedelic suite "Friends of Mine," which includes contributions from members of the Winnipeg Symphony and some free jazz sax near the end. A CBC version of the single "When Friends Fall Out" (later to appear on American Woman), which alternates between grinding riffs in the verse and contemplative balladry on the bridge, saw Burton Cummings start to fully form his tense, belting vocal style. There's a sense of a band fishing for a style throughout much of this anthology, not always successfully, but it documents an important transitional phase in the group's evolution.

BIOGRAPHY
by Steve Huey
While the Guess Who did have several hits in America, they were superstars in their home country of Canada during the 1960s and early '70s. The band grew out of vocalist/guitarist Chad Allan (born Allan Kobel) and guitarist Randy Bachman's Winnipeg-based group Chad Allan and the Expressions, originally known as first the Silvertones and then the Reflections. The remainder of the lineup featured bassist Jim Kale, pianist Bob Ashley, and drummer Garry Peterson. The Expressions recorded a cover of Johnny Kidd and the Pirates' "Shakin' All Over" in 1965, which became a surprise hit in Canada and reached the U.S. Top 40. When the Expressions recorded an entire album of the same name, its record company, Quality, listed their name as "Guess Who?" on the jacket, hoping to fool record buyers into thinking that the British Invasion-influenced music was actually by a more famous group in disguise. Ashley had been replaced by keyboardist/vocalist Burton Cummings, who became lead vocalist when Allan departed in 1966. the Guess Who embarked on an unsuccessful tour of England and returned home to record commercials and appear on the television program Let's Go, hosted by Chad Allan. However, further American success eluded the Guess Who until the 1969 Top Ten hit "These Eyes"; the recording session for the accompanying album, Wheatfield Soul, was paid for by producer Jack Richardson, who mortgaged his house to do so. Canned Wheat Packed by the Guess Who produced three Top 40 singles later that year. In 1970, the Guess Who released the cuttingly sarcastic riff-rocker "American Woman," which, given its anti-American putdowns, ironically became their only U.S. chart-topper. The album of the same name became their first U.S. Top Ten and first gold album, and the group performed for President and Mrs. Nixon and Prince Charles at the White House. (Pat Nixon requested that "American Woman" be dropped from the set list.)
Trouble was brewing on the horizon, though. Guitarist Bachman, having recently converted to Mormonism, took issue with the band's typical rock & roll lifestyle, leading to clashes with Cummings. Finding the atmosphere unbearable, Bachman left the group in July 1970 and formed Brave Belt with Chad Allan, which later evolved into Bachman-Turner Overdrive. His place in the Guess Who was taken by Kurt Winter and Greg Leskiw, and the title track from their next album, "Share the Land," climbed into the Top Ten later that year, and several more singles charted afterwards. The group returned to the Top Ten one last time in 1974 with the novelty single "Clap for the Wolfman," featuring dialogue by deejay Wolfman Jack. Burdened by shifting personnel and loss of direction, Cummings broke up the band in 1975 and tried a solo career. The lineup from the Guess Who's glory years reunited in 1983, and a version of the group with constantly shifting musicians (occasionally original members) continues to tour.

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3041 - THE GUESS WHO - This Time Long Ago: The Lost Sessions 1967-68, Disc One (2001) (By Request)

THE GUESS WHO
''THIS TIME LONG AGO, DISC ONE''
JULY 12 2001
95:13

DISC ONE
1. His Girl (Johnny Cowell) - 2:57
2. It's My Pride (Randy Bachman) - 2:49
3. If You Don't Want Me (Burton Cummings) - 3:05
4. Croyez-Moi (Randy Bachman) - 3:03
5. His Girl (Johnny Cowell) - 3:03
6. This Time Long Ago (Jimmy Stewart, Jerry Langley) - 2:26
7. Flying On The Ground Is Wrong (Neil Young) - 2:38
8. There's No Getting Away From You (Randy Bachman) - 2:53
9. Miss Felicity Grey (J. Stewart, J. Langley) - 2:19
10.Summertime Blues (Eddie Cochran, Jerry Capehart) - 3:47
11.Love Is All Around (Reg Presley) - 2:49
12.Sitar Saga (Randy Bachman) - 4:43
13.Pretty Blue Eyes (Teddy Randazzo, Robert Wilding) - 2:36
14.Pretty Blue Eyes (Alternate Take) (T. Randazzo, R. Wilding) - 2:35
15.We're Coming To Dinner (R.Bachman, B. Cummings) - 2:55

DISC TWO
1. Light My Fire (Acoustic Version) (Densmore, Krieger, Manzarek, Morrison) - 3:21
2. Light My Fire (Densmore, Krieger, Manzarek, Morrison) - 2:55
3. Shadows Cross The Shadows (Burton Cummings) - 4:15
4. These Eyes (R. Bachman, B. Cummings) - 3:42
5. Wednesday In Your Garden (Randy Bachman) - 3:23
6. When Friends Fall Out (R. Bachman, B. Cummings) - 2:57
7. Maple Fudge (R. Bachman, B. Cummings) - 1:54
8. I Found Her In A Star (Burton Cummings) - 2:09
9. 6 a.m. Or Nearer (Randy Bachman) - 3:58
10.I'm In The Mood For Love (Dorothy Fields, Jim McHugh) - 4:08
11.White Room (Pete Brown, Jack Bruce) - 4:31
12.Of A Dropping Pin (R. Bachman, B. Cummings) - 2:22
13.Friends Of Mine (Randy Bachman, Burton Cummings) - 11:00

Randy Bachman/Guitar, Vocals
Burton Cummings/Piano, Vocals
Jim Kale/Bass
Garry Peterson/Drums

REVIEW
by Richie Unterberger
In the CD era, the catalog of the pre-Wheatfield Soul Guess Who has been very hard to come by. Together with Sundazed's Shakin' All Over! (which focuses on their hardest-rocking mid-'60s cuts), this two-CD Canadian collection of rare and unreleased 1967-1968 recordings fills in the gap well. A few of these songs did appear on non-LP Canadian and/or U.K. singles, like the devastating garage punkers "It's My Pride" and "If You Don't Want Me" (which are also on the Sundazed comp); the sappy 1967 ballad "His Girl," heard here in two versions, which was actually a minor British hit; "Flying on the Ground Is Wrong," one of the first (if not the first) covers of a Neil Young song; and unbelievably awful versions of Steve Lawrence's "Pretty Blue Eyes," recorded by the band in an attempt to get their label to release them from their contract. ("Croyez-Moi," an awkward French version of their 1966 single "Believe Me," appears for the first time here.) Most of this set, however, is devoted to unreleased material, recorded in 1967 and 1968 in the studios for CBC TV shows. Some of those performances are marginalia, like the almost note-faithful cover versions of "Light My Fire," "White Room," and "Love Is All Around," and the psychedelic instrumental "Sitar Saga." Much of disc two, however, is devoted to late-'60s originals that find the band starting to arrive at their own hard pop/rock identity, including early versions of four songs apiece from Wheatfield Soul and Canned Wheat. The standouts are early versions of "These Eyes" and the Doors-ish psychedelic suite "Friends of Mine," which includes contributions from members of the Winnipeg Symphony and some free jazz sax near the end. A CBC version of the single "When Friends Fall Out" (later to appear on American Woman), which alternates between grinding riffs in the verse and contemplative balladry on the bridge, saw Burton Cummings start to fully form his tense, belting vocal style. There's a sense of a band fishing for a style throughout much of this anthology, not always successfully, but it documents an important transitional phase in the group's evolution.

BIOGRAPHY
by Steve Huey
While the Guess Who did have several hits in America, they were superstars in their home country of Canada during the 1960s and early '70s. The band grew out of vocalist/guitarist Chad Allan (born Allan Kobel) and guitarist Randy Bachman's Winnipeg-based group Chad Allan and the Expressions, originally known as first the Silvertones and then the Reflections. The remainder of the lineup featured bassist Jim Kale, pianist Bob Ashley, and drummer Garry Peterson. The Expressions recorded a cover of Johnny Kidd and the Pirates' "Shakin' All Over" in 1965, which became a surprise hit in Canada and reached the U.S. Top 40. When the Expressions recorded an entire album of the same name, its record company, Quality, listed their name as "Guess Who?" on the jacket, hoping to fool record buyers into thinking that the British Invasion-influenced music was actually by a more famous group in disguise. Ashley had been replaced by keyboardist/vocalist Burton Cummings, who became lead vocalist when Allan departed in 1966. the Guess Who embarked on an unsuccessful tour of England and returned home to record commercials and appear on the television program Let's Go, hosted by Chad Allan. However, further American success eluded the Guess Who until the 1969 Top Ten hit "These Eyes"; the recording session for the accompanying album, Wheatfield Soul, was paid for by producer Jack Richardson, who mortgaged his house to do so. Canned Wheat Packed by the Guess Who produced three Top 40 singles later that year. In 1970, the Guess Who released the cuttingly sarcastic riff-rocker "American Woman," which, given its anti-American putdowns, ironically became their only U.S. chart-topper. The album of the same name became their first U.S. Top Ten and first gold album, and the group performed for President and Mrs. Nixon and Prince Charles at the White House. (Pat Nixon requested that "American Woman" be dropped from the set list.)
Trouble was brewing on the horizon, though. Guitarist Bachman, having recently converted to Mormonism, took issue with the band's typical rock & roll lifestyle, leading to clashes with Cummings. Finding the atmosphere unbearable, Bachman left the group in July 1970 and formed Brave Belt with Chad Allan, which later evolved into Bachman-Turner Overdrive. His place in the Guess Who was taken by Kurt Winter and Greg Leskiw, and the title track from their next album, "Share the Land," climbed into the Top Ten later that year, and several more singles charted afterwards. The group returned to the Top Ten one last time in 1974 with the novelty single "Clap for the Wolfman," featuring dialogue by deejay Wolfman Jack. Burdened by shifting personnel and loss of direction, Cummings broke up the band in 1975 and tried a solo career. The lineup from the Guess Who's glory years reunited in 1983, and a version of the group with constantly shifting musicians (occasionally original members) continues to tour.

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3040 - GOLD - Mission Rock (1971) (By Request)

GOLD
''MISSION ROCK''
1971
67:50

1 - All Right/4:47
2 - Livin' High/4:07
3 - Can't Get Enough/5:16
4 - 40 Days Blues/3:06
5 - Piece Of Your Action/5:54
6 - Filet Of Sound/6:05
7 - You Can't Judge A Book/5:17
8 - Good Old Wagon/4:25
9 - Frisco Kid/4:57
10 - Good Things Coming/9:04
11 - Conquistadores/7:50
12 - Home Cookin' Woman/4:46
13 - Summer Dresses/2:10

Robin Sinclair/Vocals
Joe Bajza/Lead Guitar
Ed Scott/Rhythm Guitar
Chico Moncada/Bass
Roy Garcia/Drums
Sebastian Nicholson/Congas
Ron Cabral/Latin Percussion

ABOUT
Gold in 1971 was one of the hottest bands in San Francisco still without an LP. Bill Graham was booking the band to open shows for Ten Years After, Big Brother and the Holding Company, Mike Bloomfield....., with the hope and the support for an LP release. Now finally after 32 years here is the album Graham would have liked to hear. Country Joe McDonald took a personal interest in the band and worked with them on a number of projects ö on this CD he wrote 2 of the 13 songs, which he had never performed with Country Joe & the Fish. The very talented guitarists Ed Scott/ Joe Bajza remind often to 'John Cipollina' founded Gold in 1967/68. Gold vocalist on Mission Rock Robin Sinclair was of the same cut of female singer of the time in the style of a 'Janis Joplin' -- an experienced professional who had recorded two LP's on Cadet Concept/Chess as part of a group called Saloom -- Sinclair and the Mother Bear. The music itself is very powerful in rhythm section with congas, two acid jamming guitars and vocals a la Janis that make this CD to an absolute must for all Hippie and S.F. Sound fans.
Mission Rock was recorded live in San Francisco 1971 (excellent studio sound quality) -- music ranges in the early Quicksilver/Santana/Big Brother & The Holding Company style -- (68 minutes) unreleased material!

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3039 - GLASS HARP (1970) (By Request)

GLASS HARP
''GLASS HARP''
1970
48:33

1/Can You See Me?
Phil Keaggy / Dan Pecchio/6:25
2/Children's Fantasy
Phil Keaggy/4:12
3/Changes (In the Heart of My Own True Love)
John Sferra/5:55
4/Village Queen
Dan Pecchio/4:00
5/Black Horse
John Sferra/2:51
6/Southbound
Phil Keaggy / John Sferra/3:54
7/Whatever Life Demands
Phil Keaggy / Dan Pecchio/6:28
8/Look in the Sky
Phil Keaggy / Dan Pecchio / John Sferra/8:12
9/Garden
Phil Keaggy / Dan Pecchio / John Sferra/4:19
10/On Our Own
Phil Keaggy / John Sferra/2:36

BIOGRAPHY
by Jason Ankeny
One of the first Christian-themed pop/rock acts, Glass Harp included singer/guitarist Phil Keaggy, bassist Dan Pecchio, and drummer John Sferra. Formed in 1969 in Youngstown, OH, the group -- a free-form power trio in the tradition of Cream, the Jimi Hendrix Experience, and fellow Buckeyes the James Gang -- quickly developed a strong local following, and in 1970 they signed to Decca to issue their self-titled debut LP. Synergy followed a year later, but after 1972's It Makes Me Glad Glass Harp disbanded; Keaggy went on to enjoy considerable success as a CCM solo act, while Pecchio later co-founded the Michael Stanley Band. Glass Harp's original lineup came together for a reunion concert in 1988.

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3038 - FLEA ON THE HONEY (1971) (By Request)

FLEA ON THE HONEY
''FLEA ON THE HONEY''
1971
37:23

1. Mother Mary/7:20
2. A Woman Of Distinction/2:52
3. King's Thoughts/3:36
4. Let The Flags Fly High/2:37
5. Louise (My Little Ship)/2:43
6. Moon Park Woman/3:38
7. Face To The Sun/3:34
8. Happy Killer/3:53
9. Don't You Ever Feel Glad/3:01
10. The Next Election/4:25
All tracks by Harold "Lally" Stott, Mario Capuano, Giosy Capuano

Tony (Antonio Marangolo)/Lead Vocals, Flute, Harmonica, Piano, Organ
Dustin (Agostino Marangolo)/Drums, Percussion, Guitar, Vocals
Charlie (Carlo Pennisi)/Guitars, Percussion, Vocals
Nigel (Elio Volpini)/Bass, Acoustic Guitar, Vocals

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3037 - DENVER (2012) (By Request)

DENVER
''DENVER''
AUGUST 14 2012
38:22

1. Toledo/4:25
2. Hot Denver #2/2:59
3. Ballroom Slip-Cut/2:21
4. Dancin' With the Moon/3:43
5. Keep Your Eye Out/3:50
6. Reno/3:42
7. I'm Goin' Home/3:35
8. The Way It Is/2:48
9. Hot Denver #1/4:19
10. Rabbit Dancin'/3:16
11. Ridin' Alone (San Antone)/3:24

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3036 - CHEAP WINE - Based On Lies (2012) (By Request)

CHEAP WINE
''BASED ON LIES''
OCTOBER 23 2012
51:19

1. Breakaway/4:40
2. Waiting On the Door/4:44
3. Lovers' Grave/4:23
4. Give Me Tom Waits/3:47
5. The Big Blow/2:57
6. Based On Lies/5:06
7. On the Way Back Home/4:19
8. Lost Inside/3:34
9. The Vampire/7:03
10. To Face a New Day/5:34
11. The Stone/5:12

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3035 - BURTON CUMMINGS - Plus Signs (1990) (By Request)

BURTON CUMMINGS
''PLUS SIGNS''
JANUARY 1 1990
47:22

1. The Workaday/3:36
2. Permissible To Cry/3:36
3. Friend of Inertia/4:14
4. Take One Away/3:27
5. Cerebal World/5:42
6. I'd Love To Talk/3:18
7. The Rock's Steady/4:12
8. One Day Soon/3:18
9. Bridge In Time/4:30
10. Boring Dreams/6:21
11. Free/5:08
All Tracks By Cummings

INFO
After a six-year hiatus from recording, Cummings signed with Capitol/EMI and released this fantastic album. The songs are a reflection of Cummings' growth as a singer, songwriter, performer, and most of all, a person. "Take One Away" was a hit single in his native Canada and could've been in many other countries. A fabulous collection of songs by one popular music's great voices!

BIOGRAPHY
By John Bush
Burton Cummings, born in Winnipeg in 1947, played with the Devrons before joining the Guess Who as lead vocalist in 1965. Cummings spent ten years with that band, but left for a solo career, releasing a self-titled album in 1976. The single, "Stand Tall," sold over a million copies. He has also released My Own Way to Rock (1977), Dream of a Child (1978), Woman Love (1980), Sweet Sweet (1981) and Plus Signs (1990).

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