The first album from this legendary group – an important American hard rock powerhouse, driven by the famous rhythm duo of Tim Bogert on bass and Carmine Appice on drums – both of whom roll out of the gate here with amazingly frenetic energy! They're maybe only topped by the guitar work of Jim McCarty, whose searing lines are clearly learned from blues inspirations, then turned up in both speed and power – to match the vocals and harmonica of Rusty Day! There's nothing going on here that sounds like blues rock at all – even though the set begins with a cover of "Parchman Farm" – next to other titles that include "My Lady From South Of Detroit", "No Need To Worry", "You Can't Judge A Book By The Cover", and "Let Me Swim". CD

A nice little package, one that brings together three American releases of music by London's legendary Georgie Fame! First up is the classic Yeh Yeh – a brilliant mix of jazz, soul, and R&B – all filtered through a mod sort of London freshness, as early proof that the city could always take some great things from our own musical roots, and feed it back to us with a whole new flavor! Georgie Fame's no copycat here, though – and the sound is instantly Fame-like – a style that's really not the sort that any Americans were doing at the time, and certainly never this well. Hard-burning Hammond colors most of the tunes here – played with a tightly vamping quality – but it's Georgie's charmingly crackling vocals that really win us over! Titles include "Gimme That Wine", "Pink Champagne", "Monkeying Around", "I Love The Life I Live", "Point Of No Return", "Preach & Teach", "Get On The Right Track Baby", and the hit "Yeh Yeh". Next is Get Away – a great little album from Georgie Fame – with a hard raw soul sound that shows what a big crossover potential he had with the UK soul market – so much so that this batch of material was issued in the US as well! The album's got some wonderful arrangements – quite raw, with some nice organ, and plenty of heavy vocals from Georgie in a strong blue eyed soul mode. Titles include "Sitting In The Park", "Get Away", "Sweet Thing", "Ride Your Pony", "The In Crowd", "Last Night", and "Music Talk". Hall Of Fame is a bit of a best-of – a record that features some singles, and some album tracks – the latter of which aren't included here, as they'd be duplicated. The remaining material is Fame at his raw early best – working in a great soulful style, with plenty of jazzy charms – on cuts that include "Outrage", "Lil Darlin", "Sunny", "In The Meantime", "Something", "Do Re Mi", and Fame's own "Like We Used To Be". CD also features 9 more bonus tracks, some live recordings – titles that include "Bend A Little", "Telegram", "It Ain't Right", "Don't Make Promises", "Many Happy Returns", "I'm In Love With You", "Shop Around", "Green Onions", and "Do The Dog". (Vocalists, Rock) CD

A trio of albums from one of the most unique groups on the west coast scene! First up is Where's The Money – a classic live album from Dan Hicks and this mighty cool west coast combo – a set that's all stripped-down, and provides a great showcase for their amazing vocal and acoustic instrumental interplay! Dan's got two two female singers along for the performance – Maryann Price and Naomi Ruth Eisenberg – both of whom do way more than provide backup, as they work with plenty of percussion, and harmonize along with Dan's lead on most tracks – in that cool blend of acoustic roots and jazzy inflections that made the group so unique. The lineup also includes violin, mandolin, and bass – plus guitar from Dan – on titles that include "News From Up The Street", "Shorty Falls In Love", "The Buzzard Was Their Friend", "Is This My Happy Home", "Dig A Little Deeper", "Reelin Down", and "Caught In The Rain". Striking It Rich features the great Dan Hicks at the height of his powers – working in a sublime acoustic mode that weaves together strands of gypsy swing, American roots, harmony vocals, and plenty more too – all in a mode that's lean and timeless, and which was one of the hipper new sounds on the west coast scene of his generation! Dan works with great support from vocalists Maryann Price and Naomi Ruth Eisenberg – alongside instrumentation that includes guitar, bass, violin, mandolin, and plenty of percussion – all wrapped up with a sublime sound that has all the elements resonating together wonderfully! Titles include a great remake of his earlier gem "I Scare Myself" – plus "You Got To Believe", "O'Reilly At The Bar", "Moody Richard", "The Laughing Song", "Canned Music", "Skippy's Farewell", "Fujiyama", "Woe The Luck", and "I'm An Old Cowhand". Last Train To Hicksville is completely charming work from the great Dan Hicks – one of the few cats who could make us like music like this so much! Dan sings and plays rhythm guitar – and the group also features vocals from Maryann Price and Naomi Eisenberg – that lovely pair whose harmonies with Hicks really helped the group find their sound! As before, instrumentation is all acoustic, but used in these jazzy ways that are very unique – not folk, not string band, nor swing – but something very unique, and a real breath of fresh air in the 70s scene! Titles include "Long Come A Viper", "It's Not My Time To Go", "My Old Timey Baby", "Lonely Madman", "Cowboy's Dream No 19", and "Payday Blues". CD

Long buried live material from Gram Parsons & The Flying Burrito Brothers – captured at the dizzying heights of their cosmic American powers – over a couple shows at San Francisco's Avalon Ballroom in 1969! These were dates opening for the Grateful Dead – and it's from the Dead's massive recorded archives that this material comes – so the sound is really of fine caliber. Gram & the Burritos weren't shy about playing honky tonk standards, and the sets have a number of them, plus classics from the Gilded Palace album and more! The booklet features notes by Pamela Des Barres and Dave Prinz, with loads of photos. Disc 1 features the set from April 4, 1969, Disc 2 with the similar, and maybe a little stronger set from April 6, with bonus home recordings of "Thousand Dollar Wedding" and "When Will I Be Loved" at the end of the first disc. Titles include "Close Up The Honky Tonks", "Dark End Of The Street", medley of "Undo The Right and "Somebody's Back In Town", "She Once Lived Here", "Mental Revenge", "Sin City", "Lucille", "You Win Again", "Hot Burrito #1", "Hot Burrito #2", "Train Song" and more! CD

The first three albums of Japanese noise legends Ruins, all presented in a single set – sounds that are as powerful and mindblowing as when they were first unleashed to the world back in the 80s! The style here is still completely revolutionary – even though so many others have tried to copy it over the years – sounds that were born in punk, but inflected by noise and free jazz – often moving at a blistering pace that's as breathtaking as it is bold! We might make some slight comparison between these guys and the Pussy Galore/Royal Trux generation of American noise guitar – but Ruins are also completely different, and made waves from halfway around the globe that are still being felt today. 51 tracks in all – with titles that include "Crisis", "Human Being", "Entropy", "Makarom Iyaike", "Government", "Grudge", "Divide", "Octopus", "Amalgam", "Infect", "Dadaism", and "Flagment". CD

Groundbreaking work from the Spencer Davis Group – the first edition of the combo, with a young Steve Winwood on vocals – heard here on 37 tracks that comprise both the a and b-side recordings of a huge run of early singles! There's a wonderful transformation over the course of the records here – as the group gets even more soulful, starts shaking off some of the rougher sounds of their roots, and really hitting a tremendously tight sound! Steve Winwood was really at the height of his powers here – singing at a level to rival any of the best blue-eyed American soul singers of the 60s, with a raspy edge that comes through the spare arrangements beautifully. Drums are nice and tight, handled by Pete York – and the cool thing about the set is that the b-sides are often some very interesting cuts that really expand the group's sound. Titles include "Dust My Blues", "Gimme Some Loving", "Neighbour Neighbour", "Stevie's Groover", "Blues In F", "Sittin & Thinkin", "Strong Love", "It Hurts Me So", "This Hammer", "Keep On Running", "Take This Hurt Off Me", "Searchin", "Time Seller", "Hey Darling", "On The Green Light", and "Goodbye Stevie". CD

The great first album from Ten Years After – recorded at a time when the group were maybe more strongly linked to the bluesy sounds of the beat group generation than in later years – although still with a hint of some of the trippy touches to come! There's a surprisingly strong dedication to American blues roots at many moments – not just on some of the songs by Sonny Boy Williamson or Willie Dixon – but, maybe thanks to producer Mike Vernon, or more likely the genius of Alvin Lee, the guitars are already getting a bit fuzzy at times, and the keyboards have some unusual tones that you never would have heard on the south side of Chicago. Titles include "I Can't Keep From Crying Sometimes", "Spoonful", "Feel It For Me", "Help Me", "Adventures Of A Young Organ", "I Want To Know", and "Losing The Dogs". CD

An incredible run of music from this legendary group that was the first musical step for singer Van Morrison – a group so great, Van would still have had one hell of a career, even if he didn't do anything else! Right from the start, Them were a very special group – as steeped in American soul and R&B influences as many of their British contemporaries, but gifted with a rare ear to match the deepness of the originals with a flavor of their own – yet one that was also very individual as well! Morrison's singing is a big part of that approach – much more raw than in later years – but the overall conception is very important too – as Them never tries to rock too hard, or push things too far – and instead finds the way to lay back in the groove, and really let their tunes open up with a lot of soul. This excellent 3CD set features everything the group recorded in their short span – all the material from their two full albums, lots of singles as well, and even a full disc of mostly-unreleased rare tracks – including demos, alternates, and BBC performances. 69 tracks in all, with a big booklet of notes – and titles that include "I Gave My Love A Diamond", "Gloria", "My Lonely Sad Eyes", "I Got A Woman", "Could You Would You", "Something You Got", "Baby What You Want Me To Do", "The Story Of Them (parts 1 & 2)", "Half As Much", "Don't Start Crying Now", "One Two Brown Eyes", "Richard Cory", "Friday's Child", "Bring Em On In", "Hey Girl", "Out Of Sight", "It's All Over Now Baby Blue", and "I'm Gonna Dress In Black". CD

An amazing second foray into the world of punk rock 45s – and the British chapter to the previous American volume from Soul Jazz! Like the first set, the track selection here is superb – no overdone punk "oldies" or overplayed classics – and instead a great range of work from the lower levels of the late 70s British underground – including a fair bit of tracks from artists who never got to cut a full length album! There's also a great ear for music that goes past any simple punk cliches – songs that are smarter than the usual lot, have a good sense of perspective, and often offer up a sort of commentary on the quickly-evolving music in some way or another. The notes are great – super-thorough and filled with cover images for each single, plus other info too – and titles include "Wot's For Lunch Mum" by The Shapes, "I Wanna Be Free" by The Rings, "Neutron Bomb" by Art Attacks, "Sick Of You" by The Users, "Mucky Pup" by Puncture", "White Night" by The Lines, "You're Driving Me" by The Cravats, "Real Shocks" by Swell Maps, "Johnny Doesn't Want To Go To Heaven" by The Killjoys, "Power Cut" by The Jermz, and "East Sheen" by O Level. CD

A tremendous overview of some really important years in British music – a period that sometimes gets overlooked, due to the huge explosion of psych, prog, and other styles – but one that's equally creative in its own sort of way! First off, forget the term "folk rock" – because although that's what this music might be, it's also very different than the pop folk modes that were big on the US scene in the mid 60s – as this folk rock scene instead represented a host of British musicians really retrenching, and finding their own sort of styles – sometimes borrowing bits from the ancient past of England, other times bringing forth a contemporary way of putting over a tune – at a level that might have gotten commercial and overproduced if these guys were working on the American west coast, but which instead has a nicely unadorned quality here. At a time when most American labels (and listeners) were really leaving folk music behind, these artists were able to often work free from the needs of a big commercial hit – and make genius music that's gone on to transform many minds over the decades. The set moves way past the obvious – and features a whopping 60 tracks in all, with lots of notes in the package – and even includes a few never-issued tracks as well. Includes work by Harvey Andrews, Jade, Michael Chapman, Andy Roberts, Mr Fox, Pentangle, Shirley Collins, Prelude, Heron, Mike Cooper, Paul Brett's Sage, Lifeblood, Dando Shaft, Canticle, Jeremy Harmer, Bridget St John, Al Jones, Bill Fay, Fairport Convention, The Woods Band, Matthew's Southern Comfort, The Johnstons, Beau, Richmond, Chimera, Spirogyra, and many others! CD

Not The Cars' first album, but the one that definitely catapulted them from Boston underground to mainstream fame – quite a surprise, given the style that most of the bigger acts were laying down at the time! And of course, we say that from the more mainstream bent of our American market – where punk had yet to penetrate the radio and other outlets – which made the new wave sounds of The Cars a surprisingly strong tilt in a more contemporary direction for both major labels and broadcast radio. All these many years later, the group's elevated to classic rock status, but that's only because of the strength of the songs – a classic lineup that includes "Let's Go", "Candy O", "Night Spots", "You Can't Hold On Too Long", "Got A Lot On My Head", "It's All I Can Do", and "Since I Held You". CD

The title certainly gets it right – as the album definitely brings a bit of jazz into the mix for the great John Mayall – given that the set features strong work from funky jazz heavyweights Blue Mitchell on trumpet and Freddy Robinson on guitar! Both are musicians that we love for their late 60s records on their own, and they work mighty nicely here with Mayall in a live setting – alongside heavy saxes from Clifford Solomon, and lots of great guitar, harmonica, and piano from John Mayall himself! The style is still more blues than jazz, but definitely shows an expanding style past the more slavish roots of Mayall's early years – especially reflecting his new interaction with the American scene after the breakup of the Blues Breakers. The first side of the album features a live set from Boston – and includes "Country Road", "Mess Around", "Good Time Boogie", and "Change Your Ways" – side two is from New York shows, and features three longish tracks – "Dry Throat", "Exercise In C Major", and "Got To Be This Way". CD

All 3 Move albums remastered and collected in 1 massive set! This anthology includes basically everything you could ever want by these psychedelic pop maestros – including their self-titled 1st LP, Shazam, Looking On, singles, un-issued tracks, as well as the 1st ever CD version of the live Something Else EP – showcasing each phase of the group's influential career. Essentially the brainchild of songwriter/lead guitarist Roy Wood, the Move were arguably one of the best and most important British groups of the late 60s to never make a dent on the American charts, combining shimmering psych-pop with a harder edge and a sometimes morbid lyrical twist (as evident on the first 2 discs). The 3rd CD contains the band's final album and 1st to feature a new member – guitarist Jeff Lynne (formerly of the Idle Race and future of Electric Light Orchestra) – whose cheerier pop notions proved an interesting, if not frustrating counterpoint to Wood's darker, ironic sensibilities. Wood and Lynne's growing fascination with orchestral rock would cause them to disband the Move in 1972 and form ELO – opening up a new chapter in the history of British rock, but this anthology contains a whopping 54 tracks including; "I Can Hear The Grass Grow", "Lemon Tree", Walk Upon The Water", "Flowers In The Rain", "Fire Brigade", from The Move, "Blackberry Way", "Cherry Blossom Clinic Revisited", and "Beautiful Daughter" from Shazam, and "Brontosaurus", "Looking On", and "Feel Too Good" from Looking On – Essential stuff! CD

A trio of albums from John Stevens' Away – all packaged together in a single CD set! First up is the initial outing from the group – a surprising little set from drummer John Stevens – quite different work than his more outside, freewheeling material in the Spontaneous Music Ensemble! This group hits that second chapter of British jazz rock that the Vertigo label did so well – a style that's much more mature than most American variants of the mode – neither stock rock fusion, nor smooth soul – and instead this approach that's still quite complicated and challenging at times, even though the music can have a nicely tight focus! The group features some excellent alto from Trevor Watts – who brings in lots of sharp edges – and the set also features Peter Cowling on bass and Steve Hayton on guitar. Titles include "Tumble", "It Will Never Be The Same", and "Anni". On Somewhere In Between, drummer John Stevens hits a lot of bases on a great second album with his Away group – almost funky at points, almost outside at others, and always working with the group in a searing, searching mode that's a cut above the usual fusion of the time! There's a bit more electricity on the set this time – electric bass from Nick Stephens and guitar from David Cole – but the energy of the set is still very spontaneous, and driven by Stevens' creative work on drums – and given plenty of bite from the soprano and tenor sax of Robert Calvert. The set's got a plenty fresh vibe – very much like labelmates Nucleus at this point, with lots of sharp edges and complicated patterns – but a sound that's still very down to earth. Titles include "Spirit Of Peace", "Chick Boom", "Can't Explain", and "Now". Mazin Ennit is definitely as amazing as the title proclaims – a bit leaner than before, with this wonderful use of two basses alongside the drums of John Stevens – all in a groove that refines older Brit jazz rock modes, but without losing any sort of edge! There's a complexity here that still lives up to Stevens' rich legacy in music – and the group features lots of sweet reedwork from Robert Calvert, who blows both soprano and tenor. Titles include "Away", "Sunshine Sunshine", "Whoops A Daisy", "Light Relief", and "Temple Music". CD features bonus tracks – "Anni (parts 1 & 2)" featuring John Martyn, and "Can't Explain (parts 1 & 2)" featuringt Terri Quaye. (Jazz, Rock) CD

The incredible first album from Traffic – a record that was already way ahead of the pack, and would set the tone for so many other sounds and modes from others in years to come! At some level, the group were just coming off the big beat group years in the UK – that time of strong inspiration from American soul, jazz, and R&B – but they're already pushing all these elements in very different ways – certainly psychedelic, as you'd guess from the image on the cover – but also still holding onto a lot of the soul and jazz that first inspired them! To our ears, the reed work of Chris Woods is as important to the record as the Hammond from Steve Winwood, guitar from Dave Mason, and drums from Jim Capaldi – plus the vocals from all three – and in addition to the classic title cut "Mr Fantasy", other tunes include "Dealer", "House For Everyone", "Berkshire Poppies", "No Face No Name No Number", and "Coloured Rain". CD

Two really unusual albums from British drummer/singer John Dummer – an artist who was part of the British blues scene in the 60s – but who's something very different altogether! First up is John Dummer's Famous Music Band – a set that features key contributions from Nick Pickett on vocals, guitar, harmonica, vibes, and a host of instrumentation – all used in ways that really move past traditional blues-based modes – certainly there at the core, as in the work of the rest of the group – but already moving past any sort of slavish attempt to both be American, and even blues at all. We'd be tempted to call the approach roots rock, but it's also a bit weirder and more offbeat than that – part of that special spirit that's always made Dummer so unique. Titles include "Lady Luck", "Love Ain't Nothing But Sorrow", "Run Around", "Searching For You", "Nine By Nine", "Coming Home", "Green Leaves", and "Fine Looking Woman". Blue is a set that has the band of British drummer John Dummer moving over to Vertigo records – a shift that helps them sound even tighter and cooler than before! Singer Nick Pickett gets equal billing on the cover – and it's Pickett's contributions that really shape the sound – really offbeat vocals, plus guitar, organ, and even a bit of violin – used in that blues inspiration that got Dummer started, but with a weirder, more unusual style overall – at that moment when London was past being slavish to Chicago or Memphis! Titles include "Medicine Weasel", "The End Game", "Me & The Lady", "Time Will Tell", and "If I Can't Keep From Laughing". CD

A really cool debut from Hojas – a well-honed Uruguayan group, and one who emerge fully formed on their first record! Hojas have a sound that resonates strongly with other South American rock from the time – fuzzy guitars mixed with rhythms that are a bit more chunky than most American groups – produced in a way that's often sweetly compressed, but a bit rough at times – creating a sense of soul that really shines through, even if you can't always understand the lyrics! This album was the group's debut, and it's lovingly presented here with notes in English and a number of bonus tracks from singles too – a really great introduction to a group you'll never track down in the record bins over here! Original titles include "El Mundo Es Una Flor", "Lo Has Pensado Tu", "Sincero", "Somos Extranos", and "Hazlo Ya Amigo". Bonus tracks include "Yo Solo Estoy", "Sini Ti", "No Pierdas La Fe", "Imaginate En El Mundo", and "Un Buen Dia". CD

David John & The Mood only gave the UK scene a handful of great singles back in the 60s, but this killer set finally brings out a wealth of other material they recorded with the legendary Joe Meek – a producer who really helped the combo find their sound! There's a nicely raw sound to most of these numbers – a heavy influence from American R&B and blues, but already turned towards some of the mod modes of the mid 60s – maybe hitting the sort of territory that a group like Manfred Mann did so well at the start, but served up with an even heavier sonic power, thanks to Meek's magnificent way of recording the vocals and guitar! The package features cuts from the group's Parlophone singles – "Pretty Thing", "To Catch That Man", "Diggin For Gold", and "I Love To See You Strut" – plus 16 more never-issued tracks from the tapes of Joe Meek, issued here for the first time – titles that include "Bring It To Jerome", "That Little Old Heartbreaker Me", "She's Fine", and a number of alternate takes and dubs – all with detailed notes on the group and the material! CD

A treasure trove of greatness from British folk rock legend John Renbourn – all of his late 60s solo work, done before moving on to greater fame in Pentangle! First up is There You Go – a rare one from singer Dorris Henderson and future Pentangle founder John Rensbourn! Florida born, LA raised singer Dorris Henderson moved to London in 1965 and was soon singing London's folk clubs, where she met Rensbourn. A solid mix of traditionals and then contemporary folk songs – stripped down and honest takes on "Saly Free And Easy", "Cotton Eyed Joe", "Mr Tamborine Man", "Going To Memphis", Something Lonesome", "Mist On The Mountain" and more. This edition includes bonus tracks from a rare 45 – "Hangman" and "Leaves That Are Green". Next is the self-titled John Renbourn from 1965 – a set that would not only establish John's legacy for years to come, but also have a very strong impact upon the role of the guitar on the British scene too! The album's definitely in a mode that owes something to an American folk legacy – but it also really breaks from the past with unusual phrasings and colorings in Renbourn's guitar – certainly with an ear towards ancient English modes, but also at once very fresh and contemporary – a strong precursor to the waves of new acoustic talents that would flow from the UK a few years later, but maybe even more revolutionary – given that John's mostly just working here with his guitar and voice. Bert Jansch adds guitar to a few tracks – and titles include "Song", "Down On The Barge", "Plainsong", "Judy", "Beth's Blues", "Blue Bones", "Train Tune", "Winter Is Gone", and "Noah & Rabbit". Bert & John is a hell of a collaboration between British legends Bert Jansch and John Renbourn – both working here together to completely redefine the sound of their music for the generation to come! This one album may well hold all the sense of subtle power and possibility that was about to flower in the Brit movement often known as "acid folk" – that reworking of older aesthetics with modern conceptions, and doing so mostly with their work on acoustic guitar – quite a feat, given the stripped-down instrumentation of the set! Bert sings a bit – in that incredible style of his – but the real attraction here is the guitar interplay, which is always fresh, never hokey, neither familiar American folk nor forced singer-songwriter backup material. Titles include a wonderful reworking of Charles Mingus' "Goodbye Pork Pie Hat" – plus "Red's Favourite", "Orlando", "Soho", "Piano Tune", "East Wind", "After The Dance", and "The Time Has Come". Another Monday is maybe the most obscure album in the collection – a set that is mostly instrumental, with some completely fantastic work by Renbourn on guitar – but which also features a bit of guest vocals from singer Jacqui McShee – whose warmer presence next to John really makes for a nice pairing. The album's as powerful as it is subtle, really beautiful in its sense of variety – with titles that include "Buffalo", "One For William", "Lost Lover Blues", "Another Monday", "Day At The Seaside", "Nobody's Fault But Mine", and "Waltz". Watch The Stars is another great collaboration with Dorris Henderson – an American singer, but one who moved to London in the 60s – where she cut this rare gem with guitarist John Renbourn! The album's got a righteous vibe that's hipper than the usual folk set – with some traditional tunes and some contemporary material – recorded with that amazing phrasing that made Renbourn's guitar so distinct right from the start, with lots of those jazzy currents we love so much – and which really fit the creative vocal approach of Henderson! Dorris also plays some autoharp, and there's a bit of bass in the backings – although overall the main focus here is on Renbourn's guitar and Henderson's vocals. Titles include "Come Up Horsey", "God Bless The Child", "Watch The Stars", "30 Days In Jail", "Mosaic Patterns", "Tomorrow Is A Long Time", and "There's Anger In This Land". Sir John A Lot Of is perhaps one of the best-known albums from British guitar legend John Renbourn – as it was issued widely in the US, and kept in print for a surprisingly long time over the years! The approach here is slightly different than Renbourn's previous records – a bit in the image presented by the cover, although with maybe not as slavish a sound – as John just uses the whole thing to go a bit more ancient than before, in ways that echo the time travel that the whole British folk scene was taking as the 70s approached. The tunes are done in ways that are really beautiful – still lots of the incredible guitar work that made Renbourn such a standout on the scene – plus flute from jazzman Ray Warleigh, who's very different here than usual – and spare use of finger cymbals, African drums, and glockenspiel by Terry Cox. Titles include "Morgana", "Transfusion", "The Trees They Do Grow High", "Sweet Potato", "Seven Up", and "White Fishes". 6CD box features all records in original artwork sleeves, with a booklet of notes – and bonus tracks that include "Message To Pretty", "The Waggoner's Lad", "Lucky Thirteen", "Blues Run The Game", "The Wildest Pig In Captivity (alt)", "Can't Keep From Crying", "Transfusion (alt)", and "The Leaves Are Green". (Folk/Country, Rock) CD