The Non-Jazz, Non-Blues Albums That Changed My Life, part one
So these are not desert island discs per se, unless of course I had a huge solar driven cell for my iPOD or a hut full of shelves for my vinyl...These records represent big slices of time and memory, connection and discovery. And yeah, I own them all and rarely listen to many of them but I know they are there and most importantly, I know how they make me feel, even just the recalling of the sounds within them...so in no particular order, off the top of my head. Inspired by Rob Grant.
Beatles – every Beatles album in order of release, American versions
David Crosby – If I Could Only Remember My Name
Bob Dylan – Great White Wonder; Blonde on Blonde; Bringing It All Back Home; Blood on the Tracks; Desire; Time Out of Mind
Van Morrison – St. Dominic’s Preview; Common One; Moondance
Gram Parsons – Grievous Angel
Beach Boys – Pet Sounds
Stephen Stills & Manassas - self-titled
Joni Mitchell – Hejira; Don Juan’s Reckless Daughter; Blue
Neil Young – On The Beach; Harvest; Time Fades Away; Everybody Knows This Is Nowhere; Comes A Time; Tonight’s The Night…for starters
Willie Nelson – Sings Kristofferson; Red Headed Stranger; Teatro
Bob Marley & The Wailers – Burnin’; Catch A Fire; Exodus; Natty Dread; Rastaman Vibrations
The Dream Syndicate - Medicine Show; The Days of Wine & Roses
Ryan Adams - Cold Roses; Easy Tiger; jacksonville City Nights; Gold
Graham Nash – Songs For Beginners; Wild Tales
Eric Clapton – 461 Ocean Blvd.
Wilco - Yankee Hotel Foxtrot, Sky Blue Sky
The Who – Meaty, Beaty, Big & Bouncy; Live at Leeds; Tommy; Quadrophenia; Who’s Next
Elvis Costello - My Aim Is True; King Of America; Imperial Bedroom
David Bowie – The Rise & Fall of Ziggy Stardust; Station To Station; Aladdin Sane
The Grateful Dead - Skull and Roses; American Beauty; Workingman's Dead; Europe '72; One From the Vaults
Rain Parade - Emergency Third Rail Power Trip
Uncle Tupelo - Anondyne
Crosby, Stills & Nash – self-titled (1st album)
Crosby, Stills, Nash & Young – Déjà vu; Four Way Street
Creedence Clearwater Revival – Green River; Born On the Bayou
Spiritualized -- Ladies and Gentlemen, We Are Floating in Space
Opal - Happy Nightmare Baby
Lou Reed – The Blue Mask
Jerry Garcia - Garcia
Fear - The Record
Whiskeytown - Stranger's Almanac
Simon & Garfunkel – Bookends; Bridge Over Troubled Water
George Harrison – All Things Must Pass; Concert For Bangladesh; Living in the Material World
Patti Smith – Horses
Old & In The Way - self-titled
Top Jimmy & The Rhythm Pigs – Pigus, Drunkus, Maximus
Peter Tosh – Equal Rights; Legalize It
Dwight Yoakam - Guitars, Cadillacs, Etc. Etc
The Blasters -- The Blasters
Neville Bros - Nevillization, Fiyo On the Bayou
X – Los Angeles, Wild Gift
Aretha Franklin – that there isnt a boxed set is a sin..so Young, Gifted & Black; At Fillmore West; I Never Loved A Man...
Velvet Underground & Nico
Rock n Roll Gumbo – Professor Longhair
James Taylor – Sweet Baby James
Al Green – Call Me, I’m Still In Love With You
John Mayall – Turning Point
The Kinks – Schoolboys In Disgrace
Stevie Wonder – Innervisions, Anthology, Songs in the Key of Life
Marvin Gaye – What’s Goin’ On, Let’s Get It On, Anthology
Massive Attack -- Mezzanine
Bruce Springsteen - The Wild The Innocent & the E Street Shuffle, Born to Run, Nebraska
Todd Rundgren – Something/Anything
Violent Femmes - selt-titled
R.E.M. -- Reckoning
Talking Heads – Fear of Music
Steely Dan – Countdown To Ecstasy, Pretzel Logic
Prince - 1999
Jefferson Airplane – Crown of Creation, Surrealistic Pillow, Volunteers
The Pretenders – The Pretenders, Learning To Crawl
Public Enemy -- Fear of a Black Planet
Dusty Springfield – Dusty In Memphis
Brian Eno – Apollo sdtk
Jimi Hendrix – Axis Bold As Love, Band of Gypsys, Electric Ladyland
Elton John – Madman Across The Water, Honky Chateau
The Clash – Sandinista
My Bloody Valentine -- Loveless
Los Lobos -- How Will The Wolf Survive; La Pistola y El Corozon; The Neighborhood; and basically all of the rest
Carole King – Tapestry
Dr. Dre -- The Chronic
Merle Haggard – That’s The Way Love Goes
Roxy Music – Avalon
Santana – Caravansari, Abraxas
The Byrds – Greatests Hits, Untitled
Buffalo Springfield – Retrospective
The Pogues -- Rum, Sodomy & The Lash
Husker Du - New Day Rising
Pink Floyd - Dark Side Of The Moon, Wish You Were Here
Cream - Disraeli Gears, Wheels of Fire
Derek & The Dominos – Layla & Other Assorted Love Songs
Big Brother & The Holding Company – Cheap Thrills
The Minutemen - Double Nickels On The Dime
Sonic Youth – Daydream Nation
Led Zeppelin - II, IV, Houses of the Holy
Jethro Tull – Aqualung
Allman Brothers Band – At Fillmore East, Eat A Peach
Duane Allman -- Anthology
James Brown - Love Power Peace
John Lennon – Imagine, Plastic Ono Band
John Lennon & Yoko Ono – Double Fantasy
King Crimson - Discipline
Tom Waits – Nighthawks at the Diner, Foreign Affair, Small Change
Smokey Robinson & the Miracles – Anthology
The Band - Big Pink, The Band, Northern lights Southern Cross
The Doors – The Doors. L.A. Woman
Frank Zappa - Overnight Sensation
Nilsson -- Nilsson Schmilsson
John David Souther – Black Rose
Ramone – Ramones
Buddy Holly – 20 Golden Greats
Dr. John – Gumbo
King Sunny Ade -- Juju Music
Jane's Addiction -- Nothing's Shocking
The Eagles – The Eagles, Hotel California
Richard Thompson – Hand of Kindness
Richard & Linda Thompson – Shoot Out The Lights
Spacemen 3 -- Playing With Fire
Meat Puppets -- Up On The Sun
Red Hot Chili Peppers – BloodSugarSexMagik
The Temptations – Anthology
The Police – Synchronicity
Stone Temple Pilots - Tiny Music..Songs from the Vatican Gift Shop
Steve Earle -- Guitar Town
Sam Cooke – The Best of…
Linda Ronstadt – A Heart Like A Wheel
John Prine – Common Sense
T-Bone Burnett – self-titled
Paul Simon – There Goes Rhymin’ Simon, Graceland
Chuck Berry – Chess Box
Big Star -- #1 Record
Green On Red -- Gas Food Lodging
ELO -- Eldorado
Various Artists -- Phil Spector: Back To Mono 1958-1969
The Rolling Stones – Sticky Fingers, Let It Bleed, Exile On Main St, Beggar’s Banquet..etc.
Rod Stewart – Every Picture Tells A Story
Johnny Winter – Still Alive & Well
Television - Marquee Moon
Fela Anikulapo Kuti & Africa '70 -- Expensive Shit
Nirvana – Nevermind
Yes - Close To The Edge; The Yes Album
Sly and the Family Stone – Greatest Hits
Jackson Browne – Late For the Sky, For Everyman
Parliament - One Nation Under A Groove, Mothership Connection
Emmylou Harris - Luxury Liner; Elite Hotel
Guy Clark - Old No. 1; Old Friends; Keepers
Townes Van Zandt - Live at The Old Quarter, Boston; The Late, Great Townes Van Zandt
Joe Ely - Live Shots; Musta Notta Gotta Lotta
Elvis Presley - Sun Sessions; The Memphis Record
please stop me before I lose my mind...
coming soon...the jazz and blues list..
What You'll Find Here: Music, Movies and Me
Since May 1976, I have written in journals. When I have nothing particularly resonant to say about my own inner turmoil, philosophic ramblings, sexual peccadillos or whining on about the state of the world around me...I have always fallen back on reporting the cultural time consumption that takes up in inordinate portion of my daily goings on.
In the 40+ years since my first concerts seeing Children's Symphony presentations on Sundays at the Pasadena Civic or The Hot Jazz Society's monthly Dixieland romps in an old meeting hall on the edge of the L.A. "River" across from Griffith Park, I have been sold heavily on the magic of live music. As Neil Young so aptly put it, "Live music is better bumper stickers should be issued."
Growing up a few orange groves and canyons length away from Hollywood also contributed greatly to my family's addiction to movie going. From the time I was a small there were weekly trips to the drive-in theaters that dotted the landscape, or the local Temple theater for the Saturday matinees. Once in a while we'd drive the 12 miles into Hollywood and see something in one of the magnificent old movie palaces like Grauman's Chinese, the Egyptian, The Pantages or later the Cinerama Dome. My dad loved Westerns and War movies, as if he didn't get enough shoot-'em-up as an L.A. County Sheriff in his day gig, my mom adored musicals and comedies. My brother and I loved them all.
At SDSU, I played in my first gigging band and began booking concerts on campus as part of the well-funded Cultural Arts Board, kindling for my future life in and around music.
So it's not surprising that my first jobs out of college were working in local video rental places (which were all the rage) or managing a couple of Sam Goody record stores in Mall's on the East Coast where we marveled at the new CD format and sold the first home computers and video games (yes Commodore and Pong and Atari).
So these are really just extensions of all of those journal entries talking about the great new movies I was seeing and LPs/CDs I was listening to.
Though iPODS/iPADs, apps, smart phones and downloads now make music and movies accessible in your own pocket, there is still nothing like sitting in front of a stack of speakers with a room full of people swaying to music created before your eyes. Nor is there anything that works quite so well for me to escape the real world and all of it's pressures just outside than two hours in a dark theater, absorbing the stories flickering across that wide screen as they pull you into their world.
But a really good taco runs a close third...
In the 40+ years since my first concerts seeing Children's Symphony presentations on Sundays at the Pasadena Civic or The Hot Jazz Society's monthly Dixieland romps in an old meeting hall on the edge of the L.A. "River" across from Griffith Park, I have been sold heavily on the magic of live music. As Neil Young so aptly put it, "Live music is better bumper stickers should be issued."
Growing up a few orange groves and canyons length away from Hollywood also contributed greatly to my family's addiction to movie going. From the time I was a small there were weekly trips to the drive-in theaters that dotted the landscape, or the local Temple theater for the Saturday matinees. Once in a while we'd drive the 12 miles into Hollywood and see something in one of the magnificent old movie palaces like Grauman's Chinese, the Egyptian, The Pantages or later the Cinerama Dome. My dad loved Westerns and War movies, as if he didn't get enough shoot-'em-up as an L.A. County Sheriff in his day gig, my mom adored musicals and comedies. My brother and I loved them all.
At SDSU, I played in my first gigging band and began booking concerts on campus as part of the well-funded Cultural Arts Board, kindling for my future life in and around music.
So it's not surprising that my first jobs out of college were working in local video rental places (which were all the rage) or managing a couple of Sam Goody record stores in Mall's on the East Coast where we marveled at the new CD format and sold the first home computers and video games (yes Commodore and Pong and Atari).
So these are really just extensions of all of those journal entries talking about the great new movies I was seeing and LPs/CDs I was listening to.
Though iPODS/iPADs, apps, smart phones and downloads now make music and movies accessible in your own pocket, there is still nothing like sitting in front of a stack of speakers with a room full of people swaying to music created before your eyes. Nor is there anything that works quite so well for me to escape the real world and all of it's pressures just outside than two hours in a dark theater, absorbing the stories flickering across that wide screen as they pull you into their world.
But a really good taco runs a close third...
3 comments:
You have excellent taste in music. I was a High School chum of Buddy Holly, yet we like the same tunes. Thanks for honoring the old music. Here is a rock history you might enjoy.
Elvis Presley, Buddy Holly, Joe Ely, and the Cotton Club
by Johnny Hughes.com
Elvis Presley was leaning a against his pink, 1954 Cadillac in front of Lubbock's historic Cotton Club. The small crowd were mesmerized by his great looks, cockiness, and charisma. He put on quite a show, doing nearly all the talking. Elvis bragged about his sexual conquests, using language you didn't hear around women. He said he'd been a truck driver six months earlier. Now he could have a new woman in each town. He told a story about being caught having sex in his back seat. An angry husband grabbed his wife by the ankles and pulled her out from under Elvis. I doubted that.
Earlier, at the Fair Park Coliseum, Elvis had signed girl's breasts, arms, foreheads, bras, and panties. No one had ever seen anything like it. We had met Elvis' first manager, Bob Neal, bass player, Bill Black, and guitarist Scotty Moore. They wanted us to bring some beer out to the Cotton Club. So we did. My meeting with Bob Neal in 1955 was to have great meaning in my future. I was 15.
The old scandal rag, Confidential, had a story about Elvis at the Cotton Club and the Fair Park Coliseum. It had a picture of the Cotton Club and told of Elvis' unique approach to autographing female body parts. It said he had taken two girls to Mackenzie Park for a tryst in his Cadillac.
Elvis did several shows in Lubbock during his first year on the road, in 1955. When he first came here, he made $75. His appearance in 1956 paid $4000. When he arrived in Lubbock, Bob Neal was his manager. By the end of the year, Colonel Tom Parker had taken over. Elvis played the Fair Park Coliseum for its opening on Jan. 6., with a package show. When he played the Fair Park again, Feb. 13th, it was memorable. Colonel Tom Parker and Bob Neal were there. Buddy Holly and Bob Montgomery were on the bill. Waylon Jennings was there. Elvis was 19. Buddy was 18.
Elvis' early shows in Lubbock were:
Jan 6th 1955, Fair Park Coliseum. Feb 13th. Fair Park, Cotton Club April 29 Cotton Club June 3: Johnson Connelly Pontiac with Buddy Holly, Fair Park October 11: Fair Park October 15: Cotton Club, April 10, 1956: Fair Park. Elvis probably played the Cotton Club on all of his Lubbock dates. He also spent time with Buddy Holly on all his Lubbock visits.
Buddy Holly was the boffo popular teenager of all time around Lubbock. The town loved him! He had his own radio show on Pappy Dave Stone's KDAV, first with Jack Neal, later with Bob Montgomery in his early teens. KDAV was the first all-country station in America. Buddy fronted Bill Haley, Marty Robbins, and groups that traveled through. Stone was an early mentor. Buddy first met Waylon Jennings at KDAV. Disk jockeys there included Waylon, Roger Miller, Bill Mack, later America's most famous country DJ, and country comedian Don Bowman. Bowman and Miller became the best known writers of funny country songs.
All these singer-songwriters recorded there, did live remotes with jingles, and wrote songs. Elvis went to KDAV to sing live and record the Clover's "Fool, Fool Fool" and Big Joe Turner's "Shake Rattle and Roll" on acetates. This radio station in now KRFE, 580 a.m., located at 66th and MLK, owned by Wade Wilkes. They welcome visitors. It has to be the only place that Elvis, Buddy, Waylon, and Bill Mack all recorded. Johnny Cash sang live there. Waylon and Buddy became great friends through radio. Ben Hall, another KDAV disc jockey and songwriter, filmed in color at the Fair Park Coliseum. This video shows Johnny Cash, Carl Perkins, Elvis, Buddy and his friends.
Wade's dad, Big Ed Wilkes, owner of KDAV, managed country comedian, Jerry Clower, on MCA Records. He sent Joe Ely's demo tape to MCA. Bob Livingston also sent one of the tapes I gave him to MCA. This led to a contract. Pappy Dave Stone, the first owner of KDAV, helped Buddy get his record contract with Decca/MCA.
Another disc jockey at KDAV was Arlie Duff. He wrote the country classic, "Y'all Come." It has been recorded by nineteen well-known artists, including Bing Crosby. When Waylon Jennings and Don Bowman were hired by the Corbin brothers, Slim, Sky, and Larry, of KLLL, Buddy started to hang around there. They all did jingles, sang live, wrote songs, and recorded. Niki Sullivan, one of the original Crickets, was also a singing DJ at KLLL. Sky Corbin has an excellent book about this radio era and the intense competition between KLLL and KDAV. All the DJs had mottos. Sky Corbin's was "lover, fighter, wild horse rider, and a purty fair windmill man."
Don Bowman's motto was "come a foggin' cowboy." He'd make fun of the sponsors and get fired. We played poker together. He'd take breaks in the poker game to sing funny songs. I played poker with Buddy Holly before and after he got famous. He was incredibly polite and never had the big head. The nation only knew Buddy Holly for less than two years. He was the most famous guy around Lubbock from the age of fourteen.
Niki Sullivan, an original Cricket, and I had a singing duo as children. We cut little acetates in 1948. We also appeared several times on Bob Nash's kid talent show on KFYO. This was at the Tech Theatre. Buddy Holly and Charlene Hancock, Tommy's wife, also appeared on this show. Larry Holley, Buddy's brother, financed his early career, buying him a guitar and whatever else he needed. Buddy recorded twenty acetates at KDAV from 1953 until 1957. He also did a lot of recording at KLLL. Larry Holley said Niki was the most talented Cricket except Buddy. All of Buddy's band mates and all of Joe Ely's band mates were musicians as children.
Buddy and Elvis met at the Cotton Club. Buddy taught Elvis the lyrics to the Drifter's "Money Honey". After that, Buddy met Elvis on each of his Lubbock visits. I think Elvis went to the Cotton Club on every Lubbock appearance. When Elvis played a show at the Johnson Connelly Pontiac showroom, Mac Davis was there. I was too.
The last time Elvis played the Fair Park Coliseum on April 10,1956, he was as famous as it gets. Buddy Holly, Sonny Curtis, Jerry Allison, and Don Guess were a front act. They did two shows and played for over 10,000 people. Those wonderful I.G. Holmes photos, taken at several locations, usually show Buddy and his pals with Elvis. Lubbock had a population of 80,000 at the time. Elvis was still signing everything put in front of him. Not many people could have signing women as a hobby.
.
Many of the acetates recorded at KLLL and KDAV by Buddy and others were later released, many as bootlegs. When Buddy Holly recorded four songs at KDAV, the demo got him his first record contract. It wasn't just Lubbock radio that so supportive of Buddy Holly. The City of Lubbock hired him to play at teenage dances. He appeared at Lubbock High School assemblies and many other places in town.
Everyone in Lubbock cheered Buddy Holly on with his career. The newspaper reports were always positive. At one teenage gig, maybe at the Glassarama, there was only a small crowd. Some of us were doing the "dirty bop." The Lubbock Avalanche-Journal had photos the next day showing people with their eyes covered with a black strip. Sonny Curtis mentions that in his song, "The Real Buddy Holly Story." When Buddy Holly and the Crickets were on the Ed Sullivan show, the newspaper featured that. The whole town watched.
Buddy was fighting with his manager Norman Petty over money before he died. They were totally estranged. Larry Holley told me that Norman said to Buddy, "I'll see you dead before you get a penny." A few weeks later, Buddy was dead. When Buddy Holly died in a plane crash, it was headline news in the Lubbock Avalanche-Journal. Over 1000 people attended the funeral on February 7, 1959. Buddy was only twenty-two years old. His widow, Maria Elena Holly, was too upset to attend. The pall bearers were all songwriters and musicians that had played with Buddy: Niki Sullivan, Jerry Allison, Joe B. Mauldin, Sonny Curtis, Bob Montgomery, and Phil Everly. Elvis was in the Army. He had Colonel Tom send a large wreath of yellow roses.
In 1976, I was managing the Joe Ely Band. They had recorded an as-yet -to-be-released album for MCA Records. I was in Nashville to meet with the MCA execs. They wanted Joe to get a booking contract and mentioned some unheard of two-man shops. Bob Neal, Elvis' first manager, had great success in talent managing and booking. He sold his agency to the William Morris Agency, the biggest booking agency in the world, and stayed on as president of the Nashville branch.
I called the William Morris Agency and explained to the secretary that I did indeed know Bob Neal, as we had met at the Cotton Club in Lubbock, Texas when he was Elvis' manager. He came right on the phone. I told him the Joe Ely Band played mostly the Cotton Club. He said that after loading up to leave there one night, a cowboy called Elvis over to his car and knocked him down. Elvis was in a rage. He made them drive all over Lubbock checking every open place, as they looked for the guy. Bob Neal invited me to come right over.
Bob Neal played that, now classic, demo tape from Caldwell Studios and offered a booking contract. We agreed on a big music city strategy: Los Angeles, New York, Nashville, London, and Austin. Bob drove me back to MCA and they could not believe our good fortune. The man had been instrumental in the careers of Elvis, Carl Perkins, Johnny Cash, Roy Orbison, Johnny Rodriguez, and many others. The William Morris Agency sent the Joe Ely Band coast to coast and to Europe, first to front Merle Haggard, then on a second trip to front the Clash. The original Joe Ely Band were Lloyd Maines, Natalie's father, steel guitar, Jesse Taylor, electric guitar, Steve Keeton, drums, and Gregg Wright, bass. Ponty Bone, on accordion, joined a little later. The band did the shows and the recording. The recorded tunes were originals from Joe Ely, Butch Hancock, and Jimmie Dale Gilmore.
However, some of the William Morris bookings led to zig zag travel over long distances to so-called listening clubs. When I complained to Bob Neal, he'd recall the 300 dates Elvis played back in 1955. Four guys in Elvis' pink Cadillac. When Buddy made some money, he bought a pink Cadillac. Joe Ely bought a pristine, 1957 pink Cadillac that was much nicer than either of their pink Cadillacs.
When I'd hear from Bob Neal, it was very good news, especially the fantastic, uniformly-rave, album and performance reviews from newspapers and magazines everywhere. Time Magazine devoted a full page to Joe Ely. The earliest big rock critic to praise Joe Ely was Joe Nick Patoski, author of the definitive and critically-acclaimed Willie Nelson: An Epic Life. After one year, MCA was in turmoil. Big stars were leaving or filing lawsuits. We were told they might not re-new the option to make a second record. MCA regularly fired everyone we liked. Bob Neal thought the band should go to Los Angeles for a one-nighter.
He booked the Joe Ely Band into the best known club on the West Coast, the Palomino, owned by his dear pal, Tommy Thomas. We alerted other record companies. They drove back and forth to L.A. in a Dodge Van to play only one night. Robert Hilburn, the top rock critic for the Los Angeles Times, came with his date, Linda Ronstadt.
The Joe Ely Band loved to play music. They started on time, took short breaks, and played until someone made them stop. Robert Hilburn wrote that Ely could be, "the most important male singer to emerge in country music since the mid-60s crop of Waylon Jennings, Merle Haggard, and Willie Nelson." The long review with pictures took up the whole fine arts section of the biggest newspaper in the country. Hilburn praised each of the band individually. He was blown away when they just kept playing when the lights came on at closing time. After that, several major record companies were interested.
The last time I saw Bob Neal was at the Old Waldorf in San Francisco on February 22, 1979. Little Pete, a black drarf who was always around Stubb's Bar-B-Q, was traveling with the band. To open the show, Little Pete came out and announced, "Lubbock, Texas produces the Joe Ely Band!" Then he jumped off the elevated stage and Bo Billingsley, the giant roady, caught him. Bob Neal, the old showman that had seen it all, just loved that.
--------------------------------------------------------------------------------
This comment originally appears on www.virtualubbock.com Anyone may make copies of this one article or post it on any web site. Thanks to Chris Oglesby and Larry Holley.
--------------------------------------------
Hi Johnny,
Great stuff. Thanks for your comments. I believe I may have been at that Joe Ely show because I remember the Hilburn piece and I remember Dave Alvin (I was a major Blasters fan at the time) getting up and playing a tune with Joe and the band. Wasn't Jesse taylor and Ponty Bopne in the band (hope I remember the names correctly, it's been awhile). I remember seeing Molly Ringwold in the crowd who was a young (and underage) star of the moment at the time in the crowd and maybe, Timothy Hutton. There was quite a buzz. We were there early for the 2nd set and stood way in the back section sort of out of the way until the 2nd set started and it was just absolutely ferocious.
In 1981, I moved to Philly and tried to catch Joe whenever he came to town at the Chestnut Cabaret or wherever he happened to land solo ro with band and the joy of the Flatlanders reunion show in Media PA was a night to remember.
In fact, in 1986 I met Butch Zito backstage at an open mic gig and found our mutual love of all music Texan, Joe, Butch Hancock, Guy Clark, Townes, cemented our friendship...and we've been musical compadres and bandmates partners ever since.
Also...I am much remiss to have left off a few VERY essential Texas albums that I aill include above...cds by Joe, Townes and Guy. Thanks for the reminder...I knew I'd miss some and indeed these are indeed essential titles as is the Elvis Memphis Sessions 69 LP. Thanks for the nudge...
Post a Comment