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What’s up Sorry State readers? I hope everyone had a good Record Store Day! I picked up a cool new release I wasn’t aware of till I saw it: Sun Ra’s Pink Elephants on Parade. This is a compilation of live recordings from Sun Ra and The Arkestra performing songs from old Disney movies (Dumbo, Snow White, etc.) but jazzed up in that special Sun Ra fashion. These are the type of releases I love for RSD: weird shit you never knew you needed. I also love all the live album releases, but I know some people feel differently about that. These recordings are from different shows, but you can tell the energy at all of them was just fun and loose. You can hear laughter in the voices of The Arkestra while they’re singing. My favorite track on here is Whistle While You Work. It has a real upbeat swing to it and I can’t help but whistle along to it and have it stuck in my head for the rest of the day. Me and Dom were listening to it at the store the other day and were moving around there like the seven dwarves. Anyways, I hope everyone scored whatever they wanted and enjoyed a nice Saturday at their favorite Record Store!

Whats up Sorry State readers? I hope everyone had a good weekend. Last Sunday, I travelled back to Nashville for a quick trip to go to a Billy Strings show (no shocker there). Believe it or not though, this one was different. He was playing a one-off show with Bryan Sutton at the American Legion Post 82 in Nashville, essentially a tiny dive bar, and tickets were sold in a raffle system and to be picked up at will call with a matching ID to prevent any chance of reselling. For once, I was lucky enough to win the raffle and score two tickets to the show (for reference, I heard around 15,000 people entered the raffle and only about 200 tickets were sold, take that info with a grain of salt.) This show was only announced two weeks before it happened and emails sent out if you got tickets a week before. I signed up as a Hail Mary and said I’d say what the hell and make the drive to Nashville if I got em and lo and behold. I hit up my brother who lives in Nashville and asked if I could stay with him and if he wanted my extra ticket to go to the show, which he was happy to oblige. Road tripping by yourself is pretty fun cause you can do all the stupid detours no one else would wanna do, like cruise down the Andy Griffith Parkway and visit Mayberry. I was a couple hours outside of Nashville and my brother called me up and informed me the venue the show was at was around the corner a block away from his apartment. Everything was falling into place. He planned to go pick up some beers and pizza for my arrival before the show. I got in about 6PM, doors were at 7 and the show was at 8, so we hung out for about an hour and we decided since I’d come so far for a show we might as well get there early at the doors. A quick cut through the Cookout and Popeyes parking lot and we were at the show. We had to go through about three separate sets of people with a list and show our IDs. We get inside and pass thru the bar to a back room where we’re greeted by a tiny stage with a few rows of foldout chairs mere feet from the stage. Holy shit. I’m used to seeing Billy in arenas full of thousands of people, so to be in a tiny back room of a dive bar sitting probably about 10 feet away from my favorite musician just pickin on the guitar felt like a fever dream. My brother turned to me and I could tell he realized the absurdity of this historical show we were about to witness. Since we got there early, we had some time before the show, so I went over to the bar to grab us some beers. Getting asked to start a tab while at a Billy show also felt otherworldly, since I’m used to getting hawked for $16 beers at arenas. Everyone who was there was so happy to be there. I kept hearing people saying they couldn’t believe they were actually there. A lady I talked to was a school teacher who said she started crying in the middle of class when she got the email that she won the tickets and her students had to ask what was wrong. She was telling me she brought her dad with her and I told her I brought my brother with me and another guy chimed in and said he brought his brother with him as well, It just felt like a real family affair and everyone had a smile from ear to ear. I sat back down and shortly after, Billy and Bryan came walking in thru the side door, right thru the crowd basically and walked right on to that tiny stage and took a seat and we were off to the races. This show was completely made up of just timeless bluegrass and folk staples which, if you know me, is my ideal set list. I got to hear more Doc Watson tunes than you could shake a stick at, including my favorite song of all time, Shady Grove. I loved every single song. It was just classic after classic after classic. I almost couldn’t believe what I was hearing and seeing. Like I said, I could only compare the feeling to being in a fever dream.

Getting to hear/be a part of the banter in between the songs felt like I was placed smack dab into one of my old live bluegrass records from the 60s that I’m always writing about. One of my favorite songs from the evening is when they played the Norman Blake song Randall Collins. I wasn’t familiar with it before, but I sure as hell am now. It was an instant earworm, and I probably listened to it about 20 times on my drive home. Just a cool as hell song. After probably what were two of the greatest hours I’ve spent on this earth, they closed the show with Let the Cocaine Be, a song I’d wanted to hear live since I first got sucked down the bluegrass rabbit hole. After the show, Billy just took a step down off the stage and took the time to say hello and take a picture and talk to everyone that was lucky enough to be in attendance, a real class act. I’m terrible in these situations and never know what to say, but I shook his hand and told him thanks for all the music and everything, and also gave him a copy of that cassette I wrote about months ago, Who’s This Living in My Soul?, a compilation of old rare folk and gospel songs from across the south. Who knows, maybe one day we’ll get to hear Billy play a cover from that? Afterwards, me and my brother went to Dino’s to end the evening with some fries and a few more cold ones. While sitting there, there was only one word we could come up with to sum up the night: legendary. Getting to experience this intimate performance made me realize how thankful for music I am and how powerful it can be. I know this is a memory I’ll get to carry on for the rest of my life of seeing my favorite artist with my brother in the backroom of a bar in Nashville and for that I’d like to say, thank you Bill, it’s been a thrill.

What’s up Sorry State readers? I hope everyone is having a nice week. While organizing some of my records, it really struck me how much stuff I get from the bargain bins. It’s hard not to when working with a walking musical encyclopedia like Dominic. He’ll pull out some random $4 record and be like “have you heard this? You should get this,” and he’s always right. So many of my favorite records have come from the bins. You start to get excited about random shit in bargain bins. Dom and I were excited last week cause we found a record consisting of just train sounds and noises. It wouldn’t be the same if this record costed $30 instead of $3. It always confuses me when people ONLY buy brand new sealed records. We could have a record someone is looking for and you’ll pull out a copy and they’ll say “oh it’s used? I only want a new copy.” To each their own, but I think it’s funny when someone will pass over a $15 copy of a record they want, but would happily pay $50 for a brand new RSD release of the exact same record. Not for nothing either, but I’ve had worse luck recently buying brand new sealed copies of records that are warped, scratched up, scuffy, etc., whereas with a used record I know what I’m getting into. I digress, but I had to get on my soapbox for a minute about the often overlooked bargain bin, which leads me to the record I’m writing about today, The Sons of the Pioneers - Cool Water, a collection of classic western favorites. Dom and I found this gem the other day and decided to give it a spin. What first caught my attention was the title track. I’m familiar with the Marty Robbins version, which is one of my favorites of his, so I figured I’d give this one a chance. Plus, who doesn’t love cowboy songs? Listening to this makes it feel like you’ve been sittin in the saddle riding along the trail all day. My favorite track on here would probably be Blue Shadows on the Trails, a song I wasn’t familiar with before but instantly became hooked on. It’s a slower, smoother ballad, but it has this really cool vocal harmony in the background that goes on throughout the song that sounds like a steam engine whistle or something. It has an almost dreamy sound to it. Anyways, my main take away from listening to this record is that cowboys really like to sing about little doggies gettin along.

What’s up Sorry State readers? I hope everyone has had a nice week. I’ve had a strange day. I woke up really hungry and my stomach was growling, but that’s not out of the ordinary. I tried eating some breakfast. That didn’t help much, but I kept going on with my day. Lunch time came around and I had a big ‘ol sandwich, but still I was hungry. By the time it was dinner, I probably polished off my whole plate in 3 minutes, but my appetite still grew larger. I thought I was losing my mind. I tried everything but no matter what I did, I was still hungry. Frustrated, I sat down and decided to listen to some records to take my mind off it. I threw on Joy Division’s Substance. Surely this classic would distract me from my insatiable appetite. I was about halfway through Transmission when I felt like I was slapped in the face by the answer to my problems. I don’t know if it was a moment of clarity or insanity, but this hunger had driven me to the brink of my sanity, and I knew what I had to do. I ripped the record off the player and held it in my hands and took a big ass bite straight out of the vinyl, the first two tracks Warsaw and Leaders of Men. I’ve never tasted anything better in my life, and for the first time in what felt like forever, the hunger was going away. I ate the whole damn slab and felt like I just had a five course meal. Sometimes if you feel that hunger that can’t be satisfied by a meal, you need Substance.

What’s up Sorry State readers? I hope everyone is having a nice week. Lately, I’ve really just been dreaming of summertime. I can’t wait to go lay out at the beach or go chill at the river one Sunday afternoon. I feel like whatever season is the next one approaching is the one I love, but man I really do love summertime. Last summer, I was visiting a friend who lives over in Wilmington for the weekend and we were hanging out on the beach and my buddy was playing music on a speaker. All the sudden this song came on and probably about a minute into it I was like, “what is this song? Man, this is amazing” and he told me it was Fried Neck Bones and Some Home Fries by Willie Bobo. A smarter person than myself would’ve been able to deduce this pretty easily, since those are the only words throughout the entire song. I don’t know how to put it into words exactly, but this song sounds like it’s been baking out in the sun all day. The vocals are very warm and welcoming like Willie Bobo himself is inviting you to come enjoy some fried neck bones and home fries with him and his friends. I remember driving back to his place after the beach that day and saying, “hey, can you play that fried neck bones song again?” The next day I was driving back to Raleigh, so I decided to listen to the rest of the album and man what a treat. It was almost hard to drive cause this whole album makes you wanna stand up and shake the dust off your hips. Everyone has probably heard a hundred different covers of Michelle whether you want to or not, but this is by far my favorite one I’ve ever heard. I didn’t know so much life and energy could be shot into that song, but Willie turns it out. The way they shout “Michelle! Ma Belle!” will be stuck in your head for the rest of the day. All this to say, I’m excited to drink cold beers in the hot sun this summer while listening to Latin jazz.

What’s up Sorry State readers, I hope everyone has had a nice week. I feel like I always mention the weather or season at the beginning of my write-ups, but that’s cause it really can affect my listening habits. We’ve had amazing spring weather here in Raleigh this past week. I think we even got up into the 80s one day. My cutoff jean shorts were calling my name like the green goblin mask. With great power (sunny and 70s) though, comes great responsibility (a bunch of pollen everywhere.) It hasn’t gotten too bad yet with the pollen, but I know it’s coming. Anyways, about a month ago I wrote about that 60s French female pop compilation I was really digging that I got at Goner Records in Memphis. Fast forward to last week, I’m flipping through the International section (one of my favorites) at the store and come across this France Gall record. The cover alone told me all I needed to know about this album, but what really sold me was the hype sticker on this Third Man pressing. And I quote, “with the psychedelic era upon us, we find Gall, now in her 20s, singing increasingly strange songs about mummies, LSD, and dreams of death.” It’s like that sentence was constructed in a lab to specifically appeal to me. How could I not buy it after reading that? It’s the perfect record for this time of year when everything is blooming. Why not have some bright, warm music to match? Even though I don’t understand any French, you can still pick up on the feelings and mood of each song. My two favorites on here being Nefertiti (written by Serge Gainsbourg) and Les yeux bleus. Getchu some French pop in your system this spring.

Whats up Sorry State readers, I hope everyone has had a nice week. It finally feels like spring has arrived here in NC, though we’ll see if we get hit with another cold blast. This past week I returned from my road trip across the South East which was a bunch of fun. I got to listen to a whole lot of bluegrass, see most of my family, and show my girlfriend around where I grew up. When we were in Memphis for a couple days, we decided to drive down to Oxford, MS for the day just to hang out in town and walk around. If you don’t know, Ole Miss is located right in Oxford and the town basically revolves around the school. This is pretty much the southern-preppy capital so it’s a little funny, but the town also has a long and interesting history on its own, including being the home of William Faulkner, a southern author whose stories often took place in the fictional Mississippi county Yoknapatawpha. You can even still visit his house and walk around the property and see where he’d sit and write and draw inspiration from. Like a true old southern town, the town square is the most central part of town where everything is: shops, restaurants, bars and a big ol court house right in the middle for good measure. Hidden in this bustling square though, right up some stairs to the side of a building, I came across a record store. End of All Music was the name of the shop and I was absolutely blown away by it. Right away you could tell this shop was run by people who really loved and cared about music. A vast collection of all genres of music, used and new, and organized very well so it was easy to find what you’re looking for. I was fully expecting a run of the mill record store located in this preppy college town’s square and was happily surprised. I could’ve stayed in there for hours flipping through everything but my mom and girlfriend didn’t come down to Oxford to watch me shop for records all day, so it was kept to a brief visit. When I’m in a situation like this, out of state in a great record store, I like to get something totally out of left field. Maybe I’ll like it, maybe I won’t, but I’ll always remember when and where I got it. I came across this record, Hypnotic Guitar of John Ondolo, released on Mississippi Records (very fitting). I like being hypnotized by a guitar and I knew I would never listen to this unless I just bought it, so I decided to go with that. John Ondolo was a guitarist, singer, songwriter and filmmaker from Tanzania, which is pretty impressive. The songs on here are nothing crazy, just rhythmic guitar with some vocals, a flute, and percussion. It’s not something I’d necessarily be dying to get, but I’m glad I bought it. Sometimes, especially I feel the longer you’ve been collecting, you can fall into certain buying patterns. You have a long list of stuff you wanna get by certain artists, and sometimes it can be hard to stray from that, but I think it’s important sometimes to pick something up that you’ve never seen or heard of in your life and say “this looks cool, I’m gonna get this.” You may not always hit a home run, but it’s important to expand your musical horizons and try a little bit of everything. And who knows you might just find your new favorite thing. If I didn’t get this record, I probably could’ve gone my whole life without hearing any music that came out of Tanzania, so I’m glad I decided to pick this up. It’s kinda sounding like I’m saying I don’t like this record, but I’m too stubborn to admit it, which is far from the truth. It’s just not a record I’m gonna be listening to everyday but there’s some songs on here I really enjoy like Haukutoka Mbinguni. However, I know one day I’ll have a musical itch in my head and wanna hear something and I’ll be flipping through my records going “no….no…..no….no” and then I’ll come across this record and throw it on and the memories will come flooding back in and l’ll smile.

What’s up Sorry State readers? I hope everyone is having a nice week. This coming Friday, I’ll be departing for a road trip that spans from the mountains of North Carolina to the muddy banks of the Mississippi in Memphis while catching some Billy Strings shows along the way. It’ll all be capped off with a Sunday night performance at The Ryman in Nashville, which I’m still in disbelief that I actually have tickets for. Since I’ll be making the voyage to the Mother Church, I thought it would be fitting that this week I write about the Father of Country Music, Mr. Jimmie Rodgers. Jimmie is known for his yodeling, which understandably, might not be everyone’s cup of tea. I remember the first time I heard yodeling was when I was in elementary school in Nashville. We had a school assembly to watch this girl perform who was on America’s Got Talent or some similar TV show for yodeling. Obviously America did not select this yodeling little girl to be their new champion, but that didn’t stop Walnut Grove Elementary from booking her. I remember hearing it and thinking it sounded pretty funny, but also kinda intriguing? Fast forward 15+ years and I still feel the same way. It does sound kinda funny but also nice. It’s a very natural thing and pretty much anyone can yodel, but to convey some sort of emotion with it is where the talent steps in. Jimmie’s yodel is a very high, lonesome sound, almost like a coyote howl. The man had a short and tough life, so it’s no wonder these blues were flowing through him. He was working as a brakeman for the railroad when he was diagnosed with tuberculosis in 1924 and by 1927, had to stop working due to his declining health. Following medical advice that stated he should live somewhere high and dry to ease his symptoms, he moved his family to Asheville, North Carolina. This led to him focusing more on his recording career and his time working on the railroad was very influential to his sound and the subject matter of his music. He continued his musical career until his untimely death in 1933 at the age of 35. The amount of timeless music he recorded in this short time is staggering and continues to influence country, folk and bluegrass artists even today. His presence even remains in pop culture. The movie O Brother Where Art Thou features the main characters, The Soggy Bottom Boys, performing a version of his song In the Jailhouse Now. This record is a compilation of some of his more popular tunes, my favorites being My Rough and Rowdy Ways and Peach Picking Time in Georgia, both songs Doc Watson would commonly cover (and now Billy as well.) Who knows, maybe I’ll have a real full circle life moment and get to hear Billy do some yodeling down at the Ryman in Nashville. Either way, I’m looking forward to traveling through the great states of North Carolina and Tennessee and hearing the music the land had such a huge part in developing.

What’s up Sorry State readers, I hope everyone has had a better past week than I have. Between getting covid last week, being in the midst of moving out of my apartment, and dealing with money hungry property managers, it’s been a stressful time. I can see the light at the end of the tunnel though, so I just gotta keep on keepin on. Some people may listen to angry/aggressive stuff when they’re stressed out. It’s therapeutic. There’s definitely a time and a place for that for me, but more often than not I find myself listening to happier music in these times, and what’s a better way to escape than listening to a compilation of various female French singers of the 60s? I picked this up this past December at Goner Records when I was visiting my family in Memphis. This one caught my eye while I was flipping through records and picked it up on a whim and it exceeded all expectations. Something about listening to songs in a language you don’t understand gives you more room to think/daydream while listening to them. Dominic has also taught me the power of compilations being the perfect way to discover new artists to fall in love with, and this one has definitely opened up some new doors for me. The packaging is great on this, featuring a gatefold cover that opens up to pictures and bios of all the artists featured throughout the album, which is always interesting to read about. The record itself is a nice 180 gram “blonde” vinyl. Colored vinyl has never been a big deal for me, but I appreciate a nice unique color. Listening to this record makes me feel like I’ve been transported to a 1960s atomic cocktail lounge in France and I’m wearing some real funky shit. My favorite tracks on here are:

France Gall—Laisser Tomber Les Filles

Anna Karina—Roller Girl

Annie Philippe—C’Est La Mode

I’ve really enjoyed diving into the rest of the discographies of these artists and Dom also pointed out to me when I brought this into the store to listen to that the label that released this compilation, Ace International, has a bunch of other really amazing compilation albums of similar things, so I’ve been checking out a lot of those as well. Definitely check these out cause there’s something there for everyone. I’m just ready to be moved into my new place and get my record player set back up and have a return to normalcy. Onwards and Upwards.

What’s up Sorry State readers, I hope everyone is having a nice week. This week I’d like to talk about a record my girlfriend gave me for Christmas, Johnny Cash: At The Carousel Ballroom - April 24, 1968, adding to the already long list of live records I’ve written about. I love this record but I hardly ever buy records online and never came across it in person, so I was excited to receive it. The sound quality is amazing on this, thanks to it being recorded by the legendary Owsley Stanley. If you’re not familiar with The King of Acid, just check out his wikipedia page for a good rundown of the man of many talents. This show takes place just over a month after Johnny and June Carter got married, which would explain why he seems in such a good mood throughout the whole show. This show starts off hot with Cocaine Blues followed by a more somber Long Black Veil. He gets things kickin again though with Orange Blossom Special, cause what show would be complete without a train song? Gordon Lightfoot is even in the crowd and makes a request for Forty Shades of Green, which then gets played for him. A little over halfway through the show, June Carter joins in for a couple duets before performing a solo medley of Carter Family songs. The whole show flows very nicely and has a good mix of slower songs and more upbeat ones. It also comes with a booklet that has a lot of cool pictures, the poster for the show, and notes from other artists like Bob Weir. All in all, this is a great release and a great addition to anyone’s collection who’s a Johnny Cash fan.

What’s up Sorry State readers and Happy New Year. I hope everyone had a nice holiday season and a good start to the new year. I can’t believe it’s already 2024. I feel like the last half of this past year really just flew by, but I’m sure I’m not alone in feeling that way. 2023 was a great year of music for me between a ton of amazing live shows, new releases, and some great reissues too. I don’t think I’ve ever consumed more music in any year than I did in 2023. Here’s hoping there’s even more in 2024! Today, I’d like to highlight some titles that came out last year that I really enjoyed, some brand new and like I mentioned earlier, some reissues of older material. In no particular order, here are some of my favorites from 2023:

Delco MF’s - 100% Complete and Total Motherfuckers 12"
This record is a collection of the first year of material from Delco MF’s and what a great year it was. Every track on here is ripping, but what really solidified this as a favorite of mine was seeing them destroy their set at the Sorry State 10th Anniversary fest. No beer can was safe. If you haven’t already checked this one out, do yourself a favor and hop on it.

Tožibabe - Discography 1984-1986 12”
As you may gather from the title, this record compiles material released by the band between the years ‘84 -’86 as well as some recordings of live performances that honestly sound pretty good for what they are. This is a prime example of why I feel so lucky to have a job where I get to learn about so much different music and branch out. Without working at Sorry State, I probably never would have discovered an 80s all-female hardcore band from Yugoslavia on my own. I love this record though and I find myself wanting to run it back from the top whenever it’s finished.

Ida E Os Voltas - Demo 1986 12”
Another 80s banger, this one comes out of Brazil this time. This record features the only recordings of the short-lived post punk band on vinyl for the first time. This record is just so catchy and fun to listen to the whole way through. Warning: These songs will get stuck in your head.

Haunted Mansion - S/T 7”
Okay, how about something that actually came out this year. This thing is short, sweet and to the point at four songs. Favorite track on here is Your House is Mine. Not for the faint of heart if the sounds of a spooky haunted house and witches cackling scare you.

People’s Temple - I’m With The People’s Temple 7"
I am fully with the People’s Temple out of Brooklyn. There’s some seriously catchy guitar riffs all throughout the jam-packed eight track 7”. I’ve enjoyed revisiting this one throughout the year, as it came out in February. Only you can decide which side you stand on with this band. Hopefully you don’t share the same sentiments as the gentleman at the beginning of the track Nuclear War Obsession.

Frantix - My Dad’s A Fuckin’ Alcoholic 7”
Disclaimer: My dad isn’t a fuckin alcoholic but I’ve been around enough alcoholic dads to enjoy this one. Sometimes music can just be dumb and fun and forty years after this originally came out, it’s still just as fun to listen to. Plus, how can you not like that cover art?

Legal Weapon - Death Of Innocence 12”
I’m looking at this now and I actually think this reissue came out in ‘22 and not ‘23. Maybe it came out closer to the end of ‘22? Regardless, it’s close enough, and I listened to it a lot this year, so we’re gonna roll with it. Pretty sure everyone here at Sorry State is a big fan of this record, so I’m sure anyone reading this is familiar. There’s really nothing not to love about this one.

Gram Parsons and the Fallen Angels - The Last Roundup (Live From The Bijou Café In Philadelphia, 3/16/73) 12"
I just wrote about this one for my last staff pick so I don’t have too much else to say about it that I didn’t already say there. Of course, I had to sneak this into my end of the year list amongst a sea of punk. If you get the chance to, listen to this incredible live show. It just might save your soul punk.

Various - Screaming Death 12"
Holy smokes! What more can you ask for than four ripping bands kickin ass all over twelve inches? Always one of my go-to’s when someone comes into the store saying they wanna listen to some new shit. Maybe I’m biased cause the always-gnarly Scarecrow is featured on here with four pummeling tracks, but don’t get it twisted, every other band on here (Destruct, Rat Cage, Dissekerad) brings their A-game, which culminates in one incredible project from start to finish.

Meat House - S/T 12”
I had to get one Sorry State release in here, and I’m sure it’s one you all know and love. Hardcore noise to melt your face, delivered to you at blistering speeds. If you don’t like it, keep it to yourself, nerd.

What’s up Sorry State readers, It’s been awhile since I’ve done one of these so I may be a little rusty. I hope everyone had a nice Thanksgiving and has been enjoying the holiday season. I’ll be road tripping to Memphis this coming week, which is about a twelve hour drive. I’ve never really minded long drives. Honestly, I kinda enjoy them, plus I’ll be picking up my brother in Asheville and my other brother in Nashville along the way, so I’ll have some company to keep things interesting. If you’re travelling somewhere this year, and whichever way you get there, I hope everyone has safe travels. As everyone knows, Record Store Day happened last month and there were some cool titles that came out. One that I was really excited about (and the only one I got) was this Gram Parsons and The Fallen Angels record that contains a live show from 3/16/73 at the Bijou Café in Philadelphia, also featuring Emmylou Harris on vocals. This soundboard recording was recently uncovered after the pedal steel player, Neil Flanz, brought it to light after being in possession of the tape for 40 years, which was then acquired by Amoeba music and forgotten about in their vault for another 10 years. For a recording from a 50 year old tape, this thing sounds amazing. It feels like you’re really sitting there in that small café and listening to this intimate show. As I’ve mentioned time and time before, I love listening to a live show, especially with all the banter and everything in between songs. It’s what gives the performance character and makes it unique. The show starts off with the band intros and a ripping cover of Flint Hill Special, a Flatt & Scruggs bluegrass staple. I love Emmylou’s voice so much. I feel she’s very underrated when people talk about female voices in country music. Which is why I really enjoyed the cover of Hank Williams’ Jambalaya on here where she takes the reins for the song and really belts it out. You can tell listening to this that they’re having a great time up there and the band was really meshing well that night. Other favorites on here include Drug Store Truck Drivin’ Man, Streets of Baltimore, Sin City and the unexpected five-sog rock n’ roll medley that caps this show off. I know I would’ve been in the Bijou Café hootin and hollerin that night if I was there. But that was 26 years before I was born, so until time machines exist, this record will do me just fine.