Saturday, April 25, 2015

America: “Homecoming” (2015) Hybrid Multichannel SACD Review

America is still probably best known for the hit single “A Horse With No Name,” which was also included on reprints of the band’s first album. But it was the band’s second LP, Homecoming, that included such popular tunes as “Ventura Highway” and “Don’t Cross The River.” Originally released in 1972, this album is now being issued on hybrid multichannel SACD, in a limited, numbered edition. (I’m not sure how many copies were made, but my copy is number 1062, so there are at least that many out there.) This album features mostly original material, with all but one song written by the band’s three members – Dewey Bunnell, Dan Peek and Gerry Beckley. They’re joined by some excellent musicians on this release, including Joe Osborn on bass and Hal Blaine on drums (you’ll know Hal Blaine from his session work on Monkees recordings, among others). Three of the songs from this album were released as singles, but the entire album is really strong, and this multichannel edition sounds great. Check out that fantastic instrumental section of “Moon Song” for a taste of the group’s musical talent.

The album opens with “Ventura Highway,” which was also released as a single and was a top ten hit. It’s a really good song, though not my favorite on this album. There is one line that I always found questionable: “Alligator lizards in the air, in the air.” But I love lines like “Some people say this town don't look good in snow/You don't care, I know” and “Where the days are longer/The nights are stronger than moonshine.” And, long before Prince would use the phrase, this song mentions “purple rain.” “Ventura Highway” was written by Dewey Bunnell.

It’s followed by the sweet and pretty “To Each His Own,” written by Gerry Beckley and featuring some soft and moving work on piano. Here is a taste of the lyrics: “Familiar faces that I've seen/Turning red and turning green/They just got caught with writing on their sleeve/I guess I'll leave/I'm gonna miss you, yes, I will/No matter who you are, I'll love you still/Will you cancel my papers and lock the door/’Cause I ain't gonna be 'round no more.” This is one of my favorite tracks.

Another favorite is “Don’t Cross The River,” which was a top forty hit for the group. It’s a fun folk tune written by Dan Peek, with lines like “If you want, you can ride my train/And soon forget the reason that you're leaving/Lose yourself and then some time/Maybe even save yourself some grieving.” This track features Henry Diltz on banjo. “Only In Your Heart” was also released a single, though only reaching #62 on the U.S. chart. It was written by Gerry Beckley, and has a catchy rhythm.

“Head And Heart” is the album’s only cover, written by John Martyn and originally released on his 1971 LP, Bless The Weather. America’s version is a bit shorter than the original, but is largely faithful to the feel and style of Martyn’s version, though with keyboard prominent in the instrumental sections. Gerry Beckley plays bass on this version, and Dewey Bunnell is on percussion.

“California Revisited” is an interesting and oddly catchy number. Check out these lines: “On your waters I see a strange reflection/Rumor has it I'll see you when I die/Everyone I meet is from California.” It was written by Dan Peek. The album then concludes with “Saturn Nights,” also written by Dan Peek.

CD Track List
  1. Ventura Highway
  2. To Each His Own
  3. Don’t Cross The River
  4. Moon Song
  5. Only In Your Heart
  6. Till The Sun Comes Up Again
  7. Cornwall Blank
  8. Head And Heart
  9. California Revisited
  10. Saturn Nights
This special limited edition of Homecoming was released on April 21, 2015 through Audio Fidelity and Rhino Entertainment Company.

Wednesday, April 22, 2015

Rockabye Baby!: “Lullaby Renditions Of Grateful Dead” (2015) CD Review

If you missed out on the Rockabye Baby Grateful Dead Record Store Day exclusive (as I did), don’t despair. It is being released on CD next week. Okay, sure, the disc isn’t purple like the record, but that’s all right, as the songs are all there. Lullaby Renditions Of Grateful Dead contains instrumental renditions of some of the Grateful Dead’s best tunes, such as “China Cat Sunflower,” “Uncle John’s Band,” “Truckin” and (my favorite) “Ripple.” This album is completely adorable, and even the packaging incorporates artwork that will bring to mind some of the iconic Dead imagery, such as bears, roses and turtles. The liner notes also contain little games for your children, and even a recipe (on a separate insert). By the way, on the back of the packaging it says: “Do you wake from the flood of tears, parents? If your little ones are dead set on staying up, play these blanket soft versions of Grateful Dead’s psychedelic rock favorites. You just might get some sleep tonight.” Grateful Dead fans will of course take delight in the references to album titles and songs in this paragraph, the last line being a reference to “Friend Of The Devil,” the song that opens this CD.

You’d probably think a lullaby version of “Friend Of The Devil” would recreate the slower version of the song that the band performed in concert, but no, it’s similar to the pace of the original studio rendition from American Beauty. It gets this album off to a sweet, cute start, and it’s followed by “Casey Jones.” As these are instrumental renditions, there is no mention of cocaine in this version. The ending of “Casey Jones” is just perfect.

What a long strange trip it’s going to be for your baby when he or she begins his or her life hearing Rockabye Baby’s version of “Truckin.’” By the way, these tracks are basically lullaby versions of the studio versions of these songs, so there is no long jam or anything to this “Truckin’” – it is just over three minutes in length.

It always seemed to me that new fans of the Grateful Dead would cite “Sugar Magnolia” as their favorite song, so it’s appropriate to include that song here on an album aimed at the newest of fans. And again, there is no jam leading to “Sunshine Daydream,” and that section is fairly short. “Sugar Magnolia” is followed by “China Cat Sunflower,” which works really well in this setting.

“Scarlet Begonias” was always one of my favorites, and a song the band played at my first show back in 1988, and I am so happy that Rockabye Baby includes a version of this fun tune. This disc also includes “Fire On The Mountain,” but for some reason the two songs are split up. I think fans would have loved it if “Scarlet” went right into “Fire.” A missed opportunity, but no matter. Both tracks are delightful.

Perhaps the most delightful track, however, is “He’s Gone.” This is such a cute version. Seriously, it’s adorable. And as it’s an instrumental you don’t have to worry about your baby hearing about “A knife in the back.” I completely love this version. And at four and a half minutes, it’s also the longest track on this release.

If you’re wondering, yes, this CD includes a version of “Touch Of Grey,” the band’s only big hit, and the only song from the band’s final fifteen years to be represented on this release (the rest of the songs are from the 1960s and 1970s). This was the song the band opened with at my first show, and so it has a special place in my heart. But my all-time favorite song (not just of the Grateful Dead, but any band) is “Ripple,” from their American Beauty record. It’s one I never got to see the band perform live, but it’s the song that concludes this CD. This is a totally sweet and pretty rendition, as you might expect. The perfect song to send the little ones (or anyone) off to dreamland with smiles on their faces.

CD Track List
  1. Friend Of The Devil
  2. Casey Jones
  3. Truckin’
  4. Sugar Magnolia
  5. China Cat Sunflower
  6. Cumberland Blues
  7. Scarlet Begonias
  8. Uncle John’s Band
  9. He’s Gone
  10. Fire On The Mountain
  11. Bertha
  12. Touch Of Grey
  13. Ripple 
Lullaby Renditions Of Grateful Dead is scheduled to be released on CD on April 28, 2015. If they decide to put out a second album of Grateful Dead tunes, I’d like to suggest including “Eyes Of The World” and “Cosmic Charlie.” Also, “I Will Take You Home” is already a lullaby, but it might be sweet to include it as well. 

Tuesday, April 21, 2015

Mike Barth: “Dance This!” (2015) CD Review

You most likely know Mike Barth as a member of The Polkats, and on his new solo album, Dance This!, he includes a couple of tunes that were also featured on the most recent Polkats disc, last year’s Live From Highlandtown. Fellow Polkats band members Paul Margolis, John Shock and Steve Raskin join him on this release. Mike Barth also plays and records with The Stone Hill All-Stars (you can hear him on Away, their latest CD), and members of that band also join him on this release, which features mostly original material. Mike Barth draws inspiration from a wide range of musical areas, and the songs on this disc delve into pop, country, folk, even reggae. And though he has some excellent guest musicians and vocalists on this release, Mike Barth plays most of the instruments himself, including acoustic guitar, slide guitar, bass, keyboard, harmonica, drums, and glockenspiel.

Dance This! opens with “Just Can’t Make It Alone,” a really good and fun pop rock number that reminds me at moments of The Beatles’ “Drive My Car.” Plus, I totally dig lines like, “A simpleton on a holiday/What’s it take to find your way?” This is a strong opening track. Mike Barth follows it with “Blanket Of Misery,” which has more of a country vibe. I love this song immediately, even before its delightful opening lines, “Well, she’s so unhappy/She’s made me mean and nasty/She’s got nothing but troubles, everything under the sun/She’s making me screwy.” There’s a wonderful, slightly twisted humor to this song, and its title line is “She’s got me wrapped up tight in a blanket of misery.” And I love the way the harmonica is used as a lead instrument. Plus, John Shock plays accordion on this track, and Paul Margolis is on guitar. “Blanket Of Misery” was also included on the Polkats’ 2014 release, Live From Highlandtown. Joe McCarthy plays drums on both of these first two tracks.

Mike Barth then moves to more of a reggae feel for “Energy Called Love.” This one has a positive, kind of bouncy vibe, and while the title might seem a bit cheesy, the song includes some good lyrics. Here is a taste: “I need protection from the sun/And you might be the only one/To take the heat I generate/If I were you, I couldn’t take/The complications I provide.” Steve Raskin provides some wonderful work on drums and percussion on this track.

“Big Piece Of Chicken” is a playful country tune, and it features Linda Nelson on vocals: “Took a bubble bath and washed my head/Since you’ve been gone, it’s got me itchin’/Working my heart out in the kitchen.” It’s definitely on the silly side, but it makes me smile each time I listen to it, and I think it would be a fun one to see in concert. And then “Ring In My Pocket” has a pretty folk vibe, which I really like. Check out these lines: “You reached out and you gave me some loving/You gave me some luck and a dollar or two/I broke down and I showed you my problems/All of my problems.” Paul Margolis plays guitar on this track.

“The OWS And Me” is an excellent, lively folk tune, and it's a whole lot of fun. This track features Paul Margolis on guitar, Dave Jacobson on guitar, and John Shock on accordion. Here is a taste of the lyrics: “I can't afford to pay my doctor bills/The children keep asking why/It breaks my heart to tell my kids that the American dream's run dry.” And of course I appreciate these lines: “I see a police camera everywhere I look/Where did my freedom go?

“Words Of Love” is one of the album’s two tracks not written by Mike Barth, and the vocal approach here is close to the way Buddy Holly sang it on the original recording. It’s a good, sweet rendition. The other tune that Mike Barth did not write is “A Thousand Times,” which was written by Polkats member John Shock and included on Live From Highlandtown. Interestingly, John Shock does not play on this track. Mike Barth delivers this tune as a pretty, earnest folk song, and it's one of my favorite tracks.

CD Track List
  1. Just Can’t Make It Alone
  2. Blanket Of Misery
  3. Energy Called Love
  4. Big Piece Of Chicken
  5. Words Of Love
  6. Ring In My Pocket
  7. Drink It All Today
  8. Grease Step
  9. The OWS And Me
  10. A Thousand Times
Dance This! was released on February 15, 2015.

Doheny Blues Festival 2015 Lineup Includes Dave Alvin And Phil Alvin

The Doheny Blues Festival 2015 lineup includes Bonnie Raitt, Paul Rogers, Boz Scaggs, Taj Mahal Trio, Otis Taylor Band and Dave Alvin And Phil Alvin. Not bad, eh? There are three stages - two large stages, and one smaller, more intimate stage. I'm generally not in favor of multiple-stage festivals, because inevitably there will be two bands I want to see playing simultaneously. But that's the way of most of these things. And apparently there is a microbrew tasting near the small stage. The festival will run May 16 and May 17, 2015, and is located at the Doheny State Beach, 25300 Dana Point Harbor Drive in Dana Point, California.

Here is the list of artists playing at the 2015 festival.

Saturday, May 16, 2015
  • Paul Rogers
  • Taj Mahal Trio
  • The Mavericks
  • Los Lobos
  • North Mississippi Allstars
  • Mud Morganfield and Kim Wilson
  • Eric Lindell And The Company
  • Anson Funderburgh
  • Nico Wayne Toussaint
  • Igor Prado Blues Revue
  • Candye Kane
  • Trickbag
Sunday, May 17, 2015
  • Bonnie Raitt
  • Boz Scaggs
  • Beth Hart
  • Dave Alvin And Phil Alvin, with The Guilty Ones
  • Valerie June
  • Otis Taylor Band
  • Rebirth Brass Band
  • Lurrie Bell
  • Carolyn Wonderland
  • Big Jon And The Nationals
Weekend passes and single day tickets are now on sale. For more information, visit the official Doheny Blues Festival website.

Monday, April 20, 2015

Wes Montgomery: “In The Beginning” (2015) CD Review

Thursday at work I happened to mention that if I got off a bit early I planned to listen to some new Wes Montgomery discs. In The Beginning, the new two-disc set of early, mostly previously unreleased recordings, had arrived the day before, and I was anxious to dig into those tracks. And so they let me go home maybe an hour or two early (well, maybe it had nothing to do with my plans, but no matter). It wasn’t yet nine o’clock, and I happily popped in the first disc, and was immediately caught up in the music. Wes Montgomery’s playing has always impressed me, but the entire band on these tracks just completely blew me away. There is some serious playing on these CDs. This two-disc set also includes extensive liner notes (more than fifty pages’ worth) which include several photos. In these liner notes, Zev Feldman provides information on where these tracks came from, and also has conversations with Dr. Larry Ridley and Duncan Schiedt. The liner notes also include a piece on Wes Montgomery by Ashley Kahn; a piece on this collection’s tracks by Bill Milkowski; excerpts from Buddy Montgomery’s unpublished autobiography, along with portions of interviews with Monk Montgomery, Buddy Montgomery and Ervena Montgomery; a short piece on the Montgomery family by Dr. Willis F. Kirk; a piece by Quincy Jones, who produced some of the tracks; and a piece by Pete Townshend. It’s a pretty amazing package, but of course it’s the music that is key here.

The first disc contains live recordings from 1956, with Buddy Montgomery joining Wes on piano on all but one track, and Monk Montgomery on bass for many of the tracks. This disc opens with a good rendition of “After You’ve Gone” recorded on August 22nd of that year. All three Montgomery brothers shine at various moments, and they are joined by Alonzo “Pookie” Johnson on saxophone and Sonny Johnson on drums. And that is the band for the first seven tracks (and a few others), all recorded at the Turf Club in Indianapolis in August, 1956. These tracks include a great rendition of Gershwin’s “Fascinating Rhythm” and an absolutely wonderful version of “Brazil.” Check out that pace and that rhythm! You can hear the joy throughout that track. I love how loose it all is. And then it’s followed by a sweet rendition of “What Is There To Say?” with “Pookie” Johnson leading for a while. But it is Wes Montgomery’s lead section on guitar that really grabs my attention.

“Wes’ Tune” is the only original composition on the first disc, and this is an excellent early rendition. This tune would be included on Montgomery’s record Far Wes. I love the playful energy on this early live version, and it includes a groovy bass solo. But it is the following track, an amazing rendition of Rodger and Hart’s “My Heart Stood Still,” that really knocked my socks off.  There is so much going on in this track, so much joy, so many interesting conversations, the instruments dancing with each other, each inspired by the others, and all at a pace that is incredible. The band is seriously cooking, playing the hell out of this tune, and I don’t ever want this track to end. These guys are fueled by some mythic substance, spurred on by a group of frantic, delighted city nymphs. I’ve never heard a version of this song quite like this one, and it’s one of the highlights of this set. Man, listen to Sonny Johnson on drums on this one.

Another highlight for me is Montgomery’s rendition of John Lewis’ “Django.” It opens with that quiet, pretty section, and then when the tune kicks in, it immediately finds a great groove. This track is just so bloody cool, with the band creating this wonderful world, then letting you in, showing you around, making you feel like you should be there too. I love what Buddy Montgomery does on piano on this track.

The group raises things another notch or two on “Going Down To Big Mary’s” with the addition of a vocalist, Debbie Andrews. This is such a fun track. “We’re going to pull back the rugs, turn out the lights, get real high and stay all night.” Oh yes! This track was recorded in November of 1956, and also features John Dale on bass. From that same night we get “I Should Care,” also with Debbie Andrews on vocals. The first disc concludes with “Ralph’s New Blues,” with Buddy Montgomery on vibes, and Jack Coker on piano. Wes Montgomery plays bass on this track, which was recorded in September of 1956 at his sister Ervena Montgomery’s home. This is a good jam, and at seven minutes, is the first disc’s longest track.

The second disc opens with a few tunes recorded in November of 1958 at the Missile Lounge, beginning with a wonderful, somewhat relaxed version of Benny Goodman’s “Soft Winds” featuring Melvin Rhyne on piano. This and the following track, the delicious (and also somewhat relaxed) “Robbins’ Nest,” are two of the longest tracks in this collection, both coming in around twelve minutes, and, as you might expect, there is plenty of excellent playing. I love Richie Crabtree’s work on piano on “Robbins’ Next.” And there are some sweet, playful moments with Wes Montgomery on guitar, little teases of other tunes which you’ll recognize immediately. And I love the give-and-take section between Wes and Richie toward the end. The other long track is a great version of Jerome Kern’s “All The Things You Are,” which is also approximately twelve minutes. This was recorded in Chicago in 1957, and features some spirited playing by Wes Montgomery.

This disc also includes five tracks from a 1955 recording session for Epic Records produced by Quincy Jones. These tracks feature the same lineup as those Turf Club recordings from August of 1956: Wes Montgomery on guitar, Buddy Montgomery on piano, Monk Montgomery on bass, Alonzo “Pookie” Johnson on tenor saxophone, and Sonny Johnson on drums. The first of these tracks is a very cool rendition of Cole Porter’s “Love For Sale,” featuring some fun leads by Pookie and Buddy, with Monk providing some fantastic stuff beneath them. These five tracks include three Wes Montgomery compositions, the first being “Leila,” a tune that would see a release a few years later on Montgomery’s Far Wes. The second is “Blues,” one of my personal favorite tracks on this disc. This is a fun, groovy tune with a rhythm and blues vibe. “Pookie” Johnson really owns this one. The third Montgomery composition is an early version of “Far Wes,” which would later be a title track to one of his first albums. This version is somewhat shorter, but really good, and includes just a bit of studio talk at the end.

This incredible collection concludes with three studio tracks recorded in 1949, with Wes Montgomery on guitar, Roy Johnson on bass, Douglas Duke on piano, Gene Morris on tenor saxophone, and Earl “Fox” Walker on drums. “King Trotter,” written by Gene Morris, is a wild, fast-paced tune, with Duke sounding like he’s announcing a trolley on piano at the beginning. It isn’t long before Wes Montgomery takes a brief lead spot. “Carlena’s Blues” is a wonderful, slower number, featuring Sonny Parker on vocals (Parker also wrote this one). “Smooth Evening” is a truly fun tune written by Roy Johnson and also featuring Sonny Parker on vocals.

CD Track List

Disc 1
  1. After You’ve Gone
  2. Fascinating Rhythm
  3. Brazil
  4. What Is There To Say?
  5. Four
  6. Wes’ Tune
  7. My Heart Stood Still
  8. How High The Moon
  9. Django
  10. Going Down To Big Mary’s
  11. I Should Care
  12. Caravan
  13. Six Bridges To Cross
  14. Ralph’s New Blues
Disc 2
  1. Soft Winds
  2. Robbins’ Nest
  3. A Night In Tunisia
  4. Love For Sale
  5. Leila
  6. Blues
  7. Undecided
  8. Far Wes
  9. All The Things You Are
  10. King Trotter
  11. Carlena’s Blues
  12. Smooth Evening
In The Beginning is scheduled to be released on May 12, 2015 on Resonance Records. In addition to the two-disc CD set, it will be issued as a limited edition three-record vinyl set. 

Ellnora: The Guitar Festival 2015 Lineup Includes Los Lobos and Rodrigo Y Gabriela

Ellnora: The Guitar Festival has announced its 2015 lineup. This three-day festival, which will be held September 10-12, 2015 in Urbana, Illinois, includes performances by Béla Fleck and Abigail Washburn, Los Lobos, and Rodridgo Y Gabriela, as well as free shows by Star Rover, and David Hidalgo and Marc Ribot. Yes, some of the festival's events are individually ticketed performances, while others are free. Event tickets and festival passes go on sale on August 15, 2015. The festival passes include access to ten of the ticketed events. Here is the schedule:

Thursday, September 10
  • Opening Night Party - 6:00 p.m. (Tickets: $5 for the night)
  • Terakaft -  6:30 p.m.
  • Mia Dyson  -  7:00 p.m.
  • AJ Ghent Band  -  7:30 p.m.
  • John Jorgenson Quintet  -  8:30 p.m.
  • North Mississippi Allstars  -  8:45 p.m.  
Friday, September 11
  • Valerie June/Andy McKee  -  noon (Free)
  • Squonk’s Pneumatica  -  2:00 p.m.  (Free)
  • Keynote: A Conversation with Sharon Isbin  -  3:00 p.m.
  • Star Rover  -  4:00 p.m. (Free)
  • David Hidalgo and Marc Ribot  -  5:00 p.m.  (Free)
  • Squonk’s Pneumatica  -  6:00 p.m.  (Free)
  • Béla Fleck and Abigail Washburn  -  6:15 p.m. (Tickets: $10-$29)
  • Rhonda Vincent and The Rage  -  7:30 p.m. (Tickets: $10-$44)
  • Drive-By Truckers  -  9:00 p.m. (Tickets: $10-$49)
  • Earth with Dylan Carlson  -  10:15 p.m. (Free)
Saturday, September 12
  • Squonk’s Pneumatica -  9:15 a.m. (Free)
  • Dan Zanes and Friends Celebrate Lead Belly!  -  10:00 a.m. (Tickets: $5-$15)
  • Keola Beamer and Jeff Peterson with Moanalani Beamer  -  10:00 a.m. (Free)
  • Sharon Isbin with Colin Davin  -  11:00 a.m. (Tickets: $10-$39)
  • Squonk’s Pneumatica  -  noon (Free)
  • Min Xiao-Fen, solo pipa: Mao, Monk, and Me/Simon Shaheen, Sashank Navaladi, and Juan Pérez Rodriguez  -  1:00 p.m. (Tickets: $10-$29)
  • Punch Brothers  -  2:30 p.m. (Tickets: $10-$44) 
  • Bucky and John Pizzarelli  -  4:00 p.m. (Tickets: $10-$44)
  • Madisen Ward and the Mama Bear  -  5:30 p.m. (Free)
  • Jessica Lea Mayfield  -  6:30 p.m. (Free)
  • Los Lobos  -  8:00 p.m. (Tickets: $10-$34)
  • Rodrigo y Gabriela  9:30 p.m.  (Tickets: $10-$49)
  • Steve Reich’s Electric Counterpoint with Dither, Mark Stewart, and Friends  -  10:45 p.m. (Free)
  • John Scofield and Jon Cleary  -  11:00 p.m. (Free)
This is the festival's sixth year.

Saturday, April 18, 2015

Record Store Day Adventures, 2015

When I woke this morning with a bit of a sore throat, I thought for a moment about skipping Record Store Day entirely and going back to sleep. But I knew if I did that, it wouldn't be long before I would be wondering, "What if?" I'd read a couple of places online that the Miss Tess And The Talkbacks single was delayed. Delayed until when? Who knows? But that explains why record stores didn't get any of that particular record in stock. Of course, now I'm wondering how I'll get myself a copy of it.

Anyway, I arrived at Freakbeat at 7:30 a.m., a half hour earlier than I usually get there, and there was already a line. I took my spot at the end of it, and noted that this was the farthest back I'd ever been in line for this store, but I had a chair with me and a bottle of water and a granola bar, and figured, "Okay, we'll see." Freakbeat doesn't open until 11 a.m., so I had plenty of time to think about what I might want to purchase. There was a bit of talk about how many of these records are already being sold on Ebay, and of course the general feeling was one of hatred toward those bastards. But the crowd at Freakbeat is a mellow, optimistic, friendly bunch, and the conversation quickly turned to music and baseball (and where to park). And of course there was interest in people's lists.

Just before 9:00, the owner came out with slips of paper for everyone in line to write his or wish list. He said half the time people would forget paper, and try to show him their lists on their phones, so this time around he was providing the paper himself. Though I had plenty of paper with me, I took the small sheet and wrote my list:
  • The Reverend Peyton's Big Damn Band: "You Can't Judge A Book By Looking At The Cover" 7"
  • The Buzzcocks: "The Way" 7"
  • Asleep At The Wheel (with Willie Nelson and Blind Boys Of Alabama): "New Spanish Two Step" 7"
  • The Reverend Horton Heat: "It's A Rave Up/Beer, Write This Song" 7"
  • The Kinks: "You Really Got Me (Live)" 7"
  • Rockabye Baby: "Lullaby Renditions Of Grateful Dead" LP
  • The Rocky Horror Picture Show Time Warp EP 10"
  • The Pretty Things EP 7"
Of course, I wasn't sure how many of these they'd actually still have by the time I was at the front of the line. And some of them the store might not have gotten at all. So I added two under a "Maybe" heading:
  • The Kinks: "Kinksize Hits" 7"
  • The Kinks: "Kinksize Session" 7"
A little while later the owner came by again to ask us what our number one choices were. The way it works at this store is everyone is guaranteed to get his or her number one choice, provided that no one else ahead had already claimed the last copy. I told him The Reverend Peyton's Big Damn Band, and hurrah, it turned out no one in front of me had chosen it. The store had just one copy, and it was mine. I was feeling pretty good by this point.

It's really after we were all settled on getting our number one picks that people felt freer about sharing their wish lists, and so that's what we did. And then the store opened a bit early, which was great. The line moved fairly quickly. I ended up with half of what was on my list. This is what I got:
  • The Reverend Peyton's Big Damn Band: "You Can't Judge A Book By Looking At The Cover"
  • The Reverend Horton Heat: "It's A Rave Up/Beer, Write This Song"
  • The Kinks: "You Really Got Me (Live)"
  • The Kinks: "Kinksize Hits"
  • The Kinks: "Kinksize Session"
My total came to just under fifty dollars. I knew the store got only one copy of the Buzzcocks single (though they'd ordered ten), and wondered which person in line ended up with it. And I learned that they didn't get any copies at all of The Rocky Horror Picture Show Time Warp EP, though several had been ordered. Well, we know who got them. Just take a look at how many are for sale on Ebay already. I'm trying not to let that anger me. It's no big deal, right? I just hope that no one makes any purchases from those sellers. Let those sellers hold onto those records until their deaths. That's what I say. Meanwhile, I have a lot of music to enjoy.