Oh wow, what an excellent selection from the archives! Definitely a whiplash from yesterday's Allman Brothers selection, but let's kick it Root Down shall we?
1995's Root Down EP from the Beastie Boys is more than just an EP. Not only do we get 3 different versions of the funkalicious hit "Root Down", we get 6 tracks recorded live in Europe from the B Boys' 1995 winter tour.
The track "Root Down" was featured on the full LP Ill Communication which was released in '95 as well. However the 10 track EP featured here was an extra treat from the NYC power trio that year seeing as though the B Boys only release a record once every three or four years.
"Root Down" is simply classic Beastie Boys in my opinion; and I'm sure others will agree. It's been covered by many but will never replicate what the B Boys bring to the tune. However, what many might not realize is that their version of "Root Down" is in many ways a cover tune as well. The original "Root Down" was created by legendary jazz organist/keyboardist Jimmy Smith on his 1972 release Root Down. Jimmy made the Hammond B-3 organ popular and in order to appreciate the Beastie Boys version, you have give respects to where the sample came from.
Jimmy's cut "Root Down (And Get It)" is a great funky jazz number and you'll see why:
So just for comparison sake (and if you've been living under rock) here's the Beastie Boys cut:
I think you get the idea. Moving on.
The remainder of the EP that features the live tracks is a pretty good listen. A majority of the tunes hail from the the Beastie Boys' third studio release Check Your Head; which I really enjoy by the way. Of course "Time to Get Ill" can be found on the iconic Licensed to Ill.
What some might not realize is that not only are the B Boys great rappers, they are also fantastic musicians. The instrumental tracks they compose are simply great. The instrumental collections
they release are must haves even if you are not into instrumental tunes. Tracks like "Sabrosa" found here represent a small portion of what these guys can do.
The final track on this disc, "Something's Got to Give" is in my top 10 favorites. Its slinky groove is just what the doctor ordered and I enjoy every minute of it. The below is not the live version found on the EP, but it really doesn't matter.
As for the disc itself, I can't recall when I picked it up. It may have been around the 2001-2003 era while working in a music store. Honestly it doesn't hold any sentimental value to me which leads me to pass it along to iTunes and give up the hard copy to the gods. I'm trying to shrink this CD collection you know? Something's got to give.
So I suppose an apology is in order or better an explanation as to where I've been with this blog.
Two things; I've been pretty busy and other priorities have come before this blog.
-Or-
You could say I took the 'summer' off. Regardless, it's been a long time coming for me to get back on my mission of blogging about what to do with all of these CDs. During this small hiatus I've also investigated converting this blog into a podcast or some sort of audible version for folks to enjoy my ramblings and musical choices off the wall all in one shot. This would be beneficial for me because typing each blog post is quite a time consuming feat for me and personally I'd like to get back into the game of broadcasting simply with this hobby of mine. Plus I think it would be a neat concept of a show/podcast due to the material discussed. I know I'm not the only one out there that still has a stack of plastic discs that they are having a tough time getting rid of. Let's face it, our music collections have been going through a dramatic revolution; and video for that matter. The other day I had a conversation with my wife about how the medium of Blu-Ray discs will be the final physical form our movies, shows, and other films will take. Eventually everything will be simply cued up on our Google machines, tablets, cell phones, etc. at the drop of a dime. All in crystal clear high def no less. I could go on about where I think we're heading, but let's save that for the podcast version of Burned Out Collection.
My ultimate plan is to have it more interactive by taking callers, emails, guests etc. and discussing everyone's music collections. I'm currently working on avenues on how to make this happen whether it be blogtalkradio or a simple podcast. It's tricky due to the legality of it all if I intend to broadcast clips of songs and I must respect the copyright regulations. So stay tuned for lack of a better phrase. We'll see where it takes us.
For now, on with the show! This post's CD pull brings us 1994's Back Where it All Begins from the Allman Brothers.
I purchased this disc in '94 during high school and amazingly have not lost the original copy. This release takes me back to those days quite a bit. Everyone goes through those phases of getting sucked into a single band's catalog and during this period I did too. Classic rock swarmed my collection during those years and being raised in the South, the Allmans were a must. As much as it may surprise some, Southern Rock is not my favorite genre, but when I do go there, I go Allmans first and foremost.
I don't know much about the history of this release other than this was the last studio release the band did with Dickey Betts; one of the founding members and original second guitarist. Oddly enough this album went Gold and Betts wrote 50% of the tunes on the record. Furthermore, the band did not have another studio record until 2003. Then again, the Allmans have always been a live band versus a studio power house.
The 10 tracks on Back Where it All Begins are a great sampling of some the best post '70's era Allman Brothers work that's out there. While I enjoy this record, only three tunes really jump out and grab me: ("Back Where it All Begins", "Soulshine", and "No One to Run With"). This is not to say that the others aren't good, it's just something about these three that get me.
"Everybody's Got a Mountain to Climb" (Betts) – 4:01
"What's Done Is Done" (Allman, Woody) – 4:09
"Temptation Is a Gun" (Allman, John Friga, Neal Schon) – 5:37
The biggest standout of this bunch would have to be "Soulshine". Written by the amazingly talented Warren Haynes, this tune has become a standard favorite at Allmans shows and Warren's shows alike. "Soulshine" fits right in with other Allman Brothers classics like "Melissa", "Blue Sky", and "Crazy Love". In fact, Warren Haynes could have easily been an Allman Brother from day one back in 1969. But don't take my word for it:
It's nice to see most of these songs still make their way into heavy rotation live, even with Derek Trucks and Oteil Burbridge in the group because these are just great songs. Too often great songs get lost in the mix and are brought up out of the vaults, but sometimes you just can't deny a 'hit' when you've got one.
Crank this one up!
So with that said, I hate to admit that I listen to this disc maybe once a year if that, but when I do I go straight to my favorite three tunes. It's for this reason that I'm going to say adios to the CD and keep this in digital format. The cover art has become iconic amongst Allmans enthusiasts, but I'm more concerned with just hearing the songs; and I'm not goo goo over worrying about CD audio quality versus mp3 on this one. Regardless, snag my favorite three songs here to add to your Allman collection. You'll be glad you did.
I didn't think we would ever make enough money to pay rent by playing music. Gregg Allman
No seriously I don't need to say anything else do I? Well for the purposes of this blog I suppose I will continue to follow the rules.
This entry reviews the next pull of the shelf; 1997's South Saturn Delta,from the legendary Jimi Hendrix.
Now you may be asking yourself, 'Is this just another Hendrix re-release or compilation?', well yes and no. This album serves as a glimpse into what Jimi loved to do; experiment with sound. However I'm not referring to Jimi experimenting on stage. This release takes us into the studio for a rare look at the development and infancy of some of his best tracks. It's truly a treat in many regards to hear what these songs sounded like as opposed to the standard versions you hear on any classic rock radio station. This release was partially produced by Jimi's cousin Janie, so it gives a family-esque feel to the project.
As for my story, I remember purchasing this disc upon its release, but unfortunately it does not strike up many memories while listening to it. All I can focus on is how amazing Hendrix was not only in front of a live audience but also behind the sound board. Much like the Beatles, studio manipulation adds an element to music that just can't be replicated on stage; but then again, Jimi Hendrix sure as hell tried to.
Let's jump in shall we?
1. "Look Over Yonder"- originally recorded in '68, but not released until Rainbow Bridge in '71. This tune by the Jimi Hendrix Experience could have actually wound up on Axis: Bold as Love but was stashed aside for a revisit down the road. Several name changes it had, but a solid classic that more should know about. If you dig "Crosstown Traffic", you'll enjoy "Look Over Yonder".
2. "Little Wing"- If you don't know this song you've been living under a rock. This studio cutting room floor version is incredible. No lyrics. Just Jimi and Mitch Mitchell on drums. You can totally hear the room in this unreleased track. Wow. In this pure and faster tempo recording take, it's interesting to see the transformation that "Little Wing" went through in order to get to the lovely ballad that we've all come to admire as one of Jimi's best. This tune is often covered by other artists, including one of my all time favorites Stevie Ray Vaughn, but Jimi owns this tune.
Here's a cool video with the exact same version:
3. "Here He Comes (Lover Man)- After Electric Ladyland was recorded and done with, Jimi went back into the studio to lay down additional tracks. This unreleased tune and others including a cover of Van Morrison's "Gloria" never made their way onto disc. However Jimi kept this cookin' tune in heavy rotation throughout the rest of his career on stage.
4. "South Saturn Delta"- is unlike anything Jimi ever did. Many knew of his passion for the blues, but not many new of his love for jazz. This alternate take pieces jazz, rock, and blues into a fantastic gem; complete with horn section! How many times have you heard Jimi Hendrix backed by a horn section? During this period, he had hopes of collaborating with Al Brown, Gil Evans, and Miles Davis, but his death came before these projects took off. Too bad, this is hot stuff.
Check it out!
5. "Power of Soul"- straight following the Fillmore performance with the Band of Gypsys, the power trio of Hendrix, Buddy Miles, and Billy Cox went into the studio to put together the official release for Band of Gypsys, but instead of this studio version, they went with the live version. No harm or foul to me because the Gypsys were my favorite Hendrix outfit throughout his career. Sure the Jimi Hendrix Experience was great, but let's be honest, three brothers playing soul has its own funk element that you can't really copy.
6. "Message to the Universe" - recorded in '69 and performed at Woodstock, this tune saw Mitch Mitchell on drums come together with Billy Cox on bass, so a sort of pre-Gypsys feel. This was the first take of this song ever put down on tape. Pretty cool if you ask me.
7. "Tax Free"- an Experience performance that was not included on Electric Ladyland but still performed on tour in '69. An instrumental with heavy jazz drumming influences and slick guitar overdubs.
8. "All Along the Watchtower"- an alternate take of the version everyone knows. But what some may not know is that this track almost featured Rolling Stone's guitarist Brian Jones on piano. Jimi scrapped the piano and Jones moved onto to percussion, full of tambourines and shakers. Jimi also played bass on this cut cause he got in a fight with Noel Redding.
9. "The Stars that Play with Laughing Sam's Dice"- one of the first tracks Jimi used 8-track technology on. An Experience 'experiment' so to speak, with crunchy guitar licks.
10. "Midnight"- another instrumental jam recorded in '69 but not released until '72. The Experience had a handful of tune to put forth towards another release, but never got there.
11. "Sweet Angel (Angel)"- probably my favorite track on this release. After Axis: Bold as Love, Jimi went back to the studio, recorded the bass line on a drum machine and played along with that and a metronome tick to record this demo. He recorded it, and left it alone for 2 1/2 years before coming back to it and calling it "Angel". Another classic. Sweet
12. "Bleeding Heart"- a track recorded along side with "Isabella" that showed off more of what Billy Cox could do on a bass guitar.
13. "Pali Gap"- originally the "slow part" after "Dolly Dagger", this track has almost a Santana style flow to it. Hendrix never named the tune through, his manager did after Jimi died.
14. "Drifter's Escape"- honestly a Bob Dylan cover tune, that I don't care much for. Stands as another cover.
15. "Midnight Lightning"- solo Jimi on guitar. 1970. Blues finger picking. The beat is his foot tapping on the floor. Delta blues Jimi at his best. He died 6 months after this was recorded. Shame.
I'm so glad I could find this version to share:
Who knows what Jimi Hendrix would have accomplished after 1970. Can you imagine Jimi's influence had he'd been alive for the disco era? Or better yet, the 80's? It's hard to say, but I'm glad I have this release to turn back to. If you don't have it and you're looking for some "fresh" Hendrix, get it.
I've been imitated so well I've heard people copy my mistakes. Jimi Hendrix
Ok so it's been a month since my last post. Did anyone notice? That's ok, time flies. Sure I could go on about how busy I've been or how I've been going places or how I just got lazy, but what's the point right? It's my fault, my blog, and now I have to play catch up. So get prepared for a double-blog bonanza.
Back to the music.
I actually pulled this next selection off the wall of weird a few weeks back (obviously), but I've been trying to figure out how to go about jumping into this next artist's repertoire. That being the case, there is only one thing that can be said: Zappa. Frank Zappa.
Love him or hate him, question him or commend him, Frank goes down in history as not only a politically outspoken musician who didn't care about what others thought, but also as a melodic and hilarious symphonic genius.
The Frank collection I'm reviewing is an interesting one. This is the 2002 release from the Zappa Picks collection chosen by Jon Fishman. I say it's interesting because I'm doing a retrospect of another retrospect of what these cuts mean. Fishman's selection of tunes is a neat snap shot of some great moments in Frank's career. What's better is that Jon's liner notes take you back in great detail to what these songs mean to him; and I like that sort of thing.
An excerpt from the liner notes:
"Compiling this disc has been an unexpectedly fruitful and worthwhile recollection and reflection of some key moments in my life. I'm surprised to find how many of them have been accompanied by Zappa's music. I realize in doing this that it is safe to say that the work of Frank Zappa, his music primarily, but also his humor, politics, social commentary...all of it...has not just been a fundamental on me, but is actually more like a part of my metabolism. He was a truly unique individual who maintained an incredibly high degree of quality and integrity in his work throughout his career. Fortunately for us all, I think, he was one who did not subscribe to the notion of if-you-can't-beat-'em-join-'em, but rather beat-'em-and-have-them-join-you."
Now this isn't the end all be all of Zappa collections, jeez the guy has released a total of 89 records that span over 30 years. 89 RECORDS!! So needless to say it's difficult to tackle a daunting task of selecting a mere 16 tracks for this release. However Fishman does a great job, let's dive in shall we?
1. "Excentrifugal Forz" & 2. "Apostrophe"- straight of one of the most popular FZ records Apostrophe ('), "Forz" is a short and sweet lead up to one of my favorite tunes from Frank. Jack Bruce's bass line here is dirty and solid and makes for an excellent hook. For those not familiar with Jack Bruce, well let's just say he played with Clapton, and it was called Cream. Simply amazing instrumental. I highly recommend it.
3. "Magdalena" & 4."Dog Breath"- show signs of FZ's love of old 50's tunes. The 'doo wop' I guess you could call it. Frank was a big fan of that era and many of his songs play to that.
5. "Cheepnis", 6. "Son of Orange County" & 7."More Trouble Every Day"- taken from the Roxy & Elsewhere release, this trio of live cuts is a gem. "Cheepnis" begins with Frank explaining to the crowd about how he loves how cheaply old monster were; which is the basis for the song. That and a monster poodle. "Orange County" is a soothing follow-up to the monster movie theme with sick guitar riffs and a good poking fun at Richard Nixon with "I just can't believe, you are such a fool". "Trouble Every Day" is account of all that was going on in society at the time.
8. "It Can't Happen Here"- from Freak Out , which actually was one of the first double-lps released because FZ wanted to ruffle some record exect's feathers. A odd ball collection of jazz, and quirky lyrics and vocal stylings giving the government the finger.
9. "Keep it Greasy"- one of my favorites from Frank. "Keep it greasy, so it'll go down eas-say". Enough said.
10. "For Calvin (And his next two hitch-hikers)"- A very strange tune if ever I heard. This one came from Frank's jazz-esque period and The Grand Wazoo . Very unconventional but it explores an interesting theme. Like something out of circus.
11. "What Ever Happened to All the Fun in the World"- a 30 sec play on words.
12. "Rat Tomago"- solid guitar work from one of the best. Frank's licks are unlike any others. At first you don't know where he's going or what he's doing, but before too long it all comes full circle. This instrumental jam is just a slaughter house of rock.
13. "Wait a Minute"- a followup slew of chit chatter in similar fashion to "For Calvin" that ties the onslaught of "Rat Tomago" together.
14. "It Just Might Be a One Shot Deal"- at first listen you it becomes clear that FZ's mind was all over the place. First a weird jingle that melds into a country jam complete with pedal steel guitar. Amazing.
15. "I'm the Slime"- taken from my favorite FZ release Over-nite Sensation, "Slime" embodies many aspects of what made Frank great: obscure lyrics, a funky jam, and sensuous back up singers. What I get from this tune is simple; TV rots your brain. Whether it comes from a game show or a commercial, it's the slime.
16. "Sofa No. 2"- Seems like a strange German love ballad at first glance complete with lyrics you can't understand, but this track comes from a period that I really enjoy from Frank. At this time he had the wonderful George Duke on keyboard on vocals and Ruth Underwood on percussion with her signature and precise xylophone (of course that's not Ruth in the video below).
Now I purchased this disc when it came out in 2002 and I plan on keeping it. It's a good snap shot of many great periods in Frank's career. I can't really come up with memories of listening to it on specific occasions like some of Frank's other discs, but I do enjoy it.
We will certainly come across some of those other discs along the way on this blog, but for now allow me to share some classic Zappa clips.
"Without music to decorate it, time is just a bunch of boring production deadlines or dates by which bills must be paid." Frank Zappa
So for my wife's birthday I decided to let her choose the next disc off the wall. Following the rules set forth by the blog, I made her close her eyes, reach up to the wall of maddening plastic and select the disc we would both listen to on our journey to her birthday celebration weekend. Needless to say she was excited just as much as I was. What excited me even more was the album she put her pretty finger on; Live Art from the extremely talented Bela Fleck & the Flecktones.
Now I mentioned Bela Fleck briefly during the first post for Dave Matthews, but I did not divulge my true passion for what this banjo virtuoso brings to the musical table. Bela in my mind is the Jimi Hendrix of the banjo. He has revolutionized its place in not only the musical community, but also the world in general. Sure there are plenty of fantastic banjo players out there and many of them I am very fond of, but Bela in my book takes the cake. Whether it's a simple bluegrass diddy, or a heartfelt Mozart performance, this guy's got it all. He can plug up his 5 string and make it sound like any instrument in the world. Who would have thought to make a banjo sound like a piano, a harmonica, or a set of steel drums?! I'll tell you who. Bela Fleck.
On top of all of this, Mr. Fleck is also a multiple Grammy winner, a fan of comic books, a world music conquerer, and super nice guy. I had the chance to meet Bela in 2004 after a Flecktones show and I could nothing more than thank him for the work that he does. Of course I did so by referring to him as "Bruce" seeing that we was wearing the old school black Batman t-shirt with the bright yellow logo.
So what does a guy that has revolutionized the banjo do? Well, surround yourself with other amazing musicians that have also revolutionized their instruments of course. More on that later.
I first discovered Bela Fleck & the Flecktones on a whim in 1996. Now when I say whim I mean channel surfing. I was living in Troy, AL of all places and attending a community college to stock up on core classes after my horrific freshman semester at the U of A. One day my roommate at the time and I were lounging watching the boob tube and flipping through the networks like any normal college guys do when something caught my ear. I made my buddy jump back to BET where I heard the sounds of fusion jazz. Me being a jazz buff at this point was blown away with what I saw that I immediately found a half used VHS tape, popped it in the VCR, and hit record. Funny, it's been a while since I've spoken the words VHS and VCR let alone type them. Anyway. What I partially recorded was a jazz show hosted by Lou Rawls (I forgot the name of the show). This particular episode featured the baddest bass player I had heard up to that point, some funky guy dressed like Jimi Hendrix meets Sgt. Peppers playing drums on a machine shaped like a guitar, and a young banjo player making sounds I have never heard before. I was mesmerized.
As the program went along each tune took me to a new place in the world of jazz, I didn't want to leave, and I wanted more. I had to wait until the commercial break before Lou Rawls told me who these guys were and had to wait until the end of the program before I got their story.
Band leader Bela Fleck began his career as a banjo child prodigy from what I gathered and worked his way through the bluegrass scene at an early age playing with all of the greats. In the early nineties he began exploring jazz and finding a new home for his 5 string banjo, but needed help to make this jazz fusion outfit work. He decided to take auditions and managed to find bass guitar god Victor Wooten through some networking. Lou Rawls got the full story of how Bela interviewed Victor over the telephone, heard his amazing talent and hired him on the spot. Now I'm not sure if they were both living in Nashville at the time, but it just made sense. During their phone chat, Victor mentioned that his brother was working on getting a patent on a new drum machine that you hold like a guitar (cymbals with your left hand and drums with your right) that he called the 'drumitar'. Obviously Bela took the bait and collected the other Wooten brother known as Futureman to round out his team of players.
After the BET program ended I was hooked. I watched my recorded show a million times and found my favorite tune from the set "Vix 9". Of course living in Troy did not suffice my CD addiction needs at that point due to the lack of good record stores in the area. I scoured nearby stores in nearby cities on the hunt for my first Flecktones record. Now I can't remember exactly where I found it, but the album I bought of theirs was Three Flew Over the Cookoo's Nest , which lucky for me contained my favorite "Vix 9". It wasn't until later that the Live Art double disc found its way to me, but it was welcomed with eager and open arms when it did.
If I could recommend a Flecktones album to start with, Live Art would be it. If you are not familiar with this band, and I highly suggest that you are, then buy this album. This is a collection of live material recorded from '92-'96 and it is a great introduction into the world that is the Flecktones. I can't say much more at this point other than the music speaks for itself. There will be plenty more Flecktones reviews as I go along on this journey and I have many memories of what this band means to me. This album for one takes me back to college and continues to be apart of the soundtrack of my life.
Disc 1
"Intro"
"New South Africa"- just an amazing song
"Stomping Grounds"- the wife said this sounds like Kermit the Frog swamp music
"Lochs of Dread"- ever wonder what a Scottish ditty and a reggae tune would sound like mashed up?
"Bigfoot"
"Far East Medley"
"Flying Saucer Dudes"
"UFO Tofu"
"Interlude - Libation, The Water Ritual"
"Vix 9"- again, my first favorite
"The Message"
"Improv/Amazing Grace"- whenever I see/hear Victor play "Amazing Grace" on the solo bass, I tear up
"Shubbee's Doobie"
"Oh! Darling"
"Blu-bop"
"Sunset Road"- you should also find the version with lyrics
"More Luv"
"Presto" from Sonata #1 in G minor for unaccompanied violin (Johann Sebastian Bach)
Now this isn't "Presto", but his classical stylings are incredible:
"The Ballad of Jed Clampett"
"Cheeseballs in Cowtown"
"Sinister Minister"- wow
"Flight of the Cosmic Hippo"
I really could go on for days about these guys, but I'll be back.
"And my electronic gear, I haven't even scratched the surface of what's available on that instrument - it's ridiculous!" -- Bela Fleck
Many groups play cover tunes all of the time and some complete entire albums in a cover tune format. The album from this selection however takes it to the next level.
Here we have 1996's If Four Was One from the power group T.J. Kirk.
The idea of three guitarists and a drummer forming a power group may seem a little odd; especially when it comes to jazz. However, when anyone joins forces with the 8 string virtuoso Charlie Hunter, anything is possible and the outcome will almost always come remarkable.
Charlie in my mind is a genius. Any guy that can hold down a solid bass line and play sick electric jazz licks at the same time on one instrument is ok in my book. If you have not discovered Hunter's style, you must. Just watching him play an 8 string guitar is cool enough. Thumping the top strings for the bass line and picking the others for hot jazz licks amazes me every time.
When many first hear of T.J. Kirk they may think the group's name is a play on words by combining two popular roles that William Shatner has played; T.J. Hooker & Captain James T. Kirk. Maybe the band wanted you to think that, but in reality the group covers the musical styles of Thelonius Monk, James Brown, & Rahsaan Roland Kirk.
I became familiar with this outfit simply by being a fan of Charlie Hunter. This side project of his really caught my ear because I not only a huge jazz fan but also an admirer of the musicians for which they cover. I burned this disc from my buddy T.J., ironically, because he picked up this disc before I did. Rats. Anyway, this album's funky grooves takes me back to those college days and the disc battles he and I used to have.
Now I won't got through each track this time around but will supply a few clips of Charlie doing his thing. Unfortunately there aren't too many good videos of T.J. Kirk surfacing around because sadly the group disbanded after a few records.
We'll see more of Charlie down the road but for now, here's a little treat:
I throughly enjoy this disc however I feel I must transfer it over to iTunes as I don't have the official copy. That just makes sense right?
Anyone playing with you is going to change where your direction is. Charlie Hunter
Before there was Michael Franti and Spearhead, there was Toots and the Maytals. If you like Franti & Spearhead, then you'll love Toots.
For those that don't know Toots Hibbert he comes from a long line of successful reggae ska performer from Jamaica. Much like others from his time, Peter Tosh and some guy named Bob Marley, Toots helped bring the ska reggae sound to the forefront and in my opinion he is regarded as one of it's pioneers.
The 2004 release of True Love allowed the Maytals to go back in time and re-record many of their classics with some famous stars of today.
I picked up this demo in my days at Wherehouse Music and have loved it ever since. Now I won't go through every track as in previous posts because this entire record is filled with groovy upbeat reggae tunes that keep you going tune after tune. Therefore this post will be short. I highly recommend that every music lover own this disc in some form or fashion. I myself will be converting this over to mp3 format because I no longer have the need to keep this in hard copy. However once I do so, my wife wants the CD for her car. That's ok in my book and it's not breaking any of the rules. Just check out this track list and the performers that accompany the Maytals and you'll be sure to get this one yourself:
Oh wow, what an excellent selection from the archives! Definitely a whiplash from yesterday's Allman Brothers selection, but let's kick it Root Down shall we?
