Album of the Week, March 27: Robert’s Desert Island Discs

RBHSJDIDBadgeToday’s entry is something a little different. As I was looking over the almost 200 albums I have featured over the years, I asked myself the question that drives the famous BBC Radio 4 show Desert Island Discs: If I were stranded on an island, which discs would I be sure to have with me?

The task proved more daunting than I imagined, so I established a few guidelines and started over. These parameters made the selection a little bit easier.

  1. Original, legitimate releases only: no bootlegs, re-issues with bonus tracks, or any other chicanery to pad the offerings.
  2. Enjoy every track: If this is all I ever get to listen to, it had better be great. A perfect test case is Rubber Soul: it’s an unquestionably brilliant album, but if I had to listen to Michelle or Girl more than once a month, I’d throw myself into the shark-infested waters.
  3. Balance, balance, balance: I tried to embrace the breadth of my tastes and represent a good cross-section of the artists I love.
  4. When in doubt, favorite artists win: My collection includes several acts represented by one great album. In order to represent the artists whose whole catalogs I appreciate, I dropped the one-only artists. That included the hard decisions to eliminate Goodbye Yellow Brick Road, London Calling, Rumours, Blood On the Tracks, and I Am A Bird Now.
  5. Greatest hits: I pondered banning these as a corallary to rule 1, but decided to take them on their own merits. As it turns out, I didn’t wind up with any of these on the list, although I looked closely at a couple. In the end, rule 2 trumped them.

I set my album allowance at 13. Why that number? I could say that it represents the bad luck of being stranded on a desert island, but honestly trying to get to eight — the BBC number — was maddening. My list, my rules, so if this Gilligan-adjacent experience includes a weatherproof sound system, it has room for 13 discs.

Without further ado, here they are, in the order in which I finalized their placement on the list.

Richard & Linda ThompsonShoot out the LightsHIGH RESOLUTION COVER ARTShoot Out the Lights (1982, Hannibal) Richard & Linda Thompson
Surprising no-one, I’m sure, this was my first choice — brilliant lyrics, stellar playing, solid band, two of my favorite artists on one disc. Harrowing but hopeful, it captures the human spirit better than anything else for me. Linda delivers some of her best vocals and Richard some of his finest solos. If I had to pick 25 songs to take to the island (please, no!), at least four of them would be from this album.

DifferentKindofLoveSongA Different Kind of Love Song (1983, Appleseed) Dick Gaughan
Another easy choice for me, with some of the best protest music ever written. Gaughan is in fine voice and his guitar work is impeccable. It’s a collection of often dark songs with a shining heart beating at its core. The title track sums things up brilliantly, and inspired me to write an essay for Michael’s blog on the importance of looking at the darkness if we want to get to the light.

AbyssiniansAbyssinians (1983, Topic) June Tabor
June Tabor had to be on the list, but picking the album was tricky. This is my favorite by a narrow margin, and includes a stunning cover of a Waterson song, so it won the day. As Elvis Costello has famously observed, if listening to June Tabor’s voice doesn’t move you, give up music. (Bonus fact: She has worked as a librarian and restaurateur, so she covers the bases of my passions nicely…)

Robyn_Hitchcock_-_I_Often_Dream_Of_TrainsI Often Dream of Trains (1984, Hannibal) Robyn Hitchcock
Another artist I had to have on the island, but a tougher choice. The Soft Boys’ Underwater Moonlight and the Egyptians’ Element of Light are co-equal with this disc for me. It came down to the essence of the album. The spare setting of Trains lets Robyn shine through in all his eccentric glory.

LastWordThe Last Word (1992, RNA) Gregson & Collister
Another nice package, with two of my favorites on one album, both at the height of their powers. Clive Gregson’s observations about life and love are timeless, and this set includes a couple of tracks written with Boo Hewerdine, another favorite. Christine Collister has a wonderful voice that sometimes gets over-emphasized on her solo discs. Here, the production is flawless.

MitchellC&SCourt and Spark (1974, Asylum) Joni Mitchell
One of the few commercial successes on my list, it’s a little jazz, a little pop, a little folk, all tied together by the singular talents of Joni Mitchell. It also features her finest vocals, not as airy and bright as her earlier work and not as Cohen-adjacent as her later. All of that, and songs about David Geffen and James Taylor! What could be finer?

Til_Tuesday-Everythings_Different_NowEverything’s Different Now (1988, Epic) ’til tuesday
A sentimental favorite, this is an album I play when I’m feeling lost. It’s a powerful look at relationships and how they go wrong — and right. It landed at just the right time for me, providing insight and outlet as I worked through my own issues. Aimee Mann found her lyrical voice, presaging her later solo work. The band is crisp and smart, lending power to the songs. This is as close to flawless as 80s pop gets.

yaz-you_and_me_bothYou and Me Both (1983, Sire) Yaz(oo)
Speaking of 80s pop… A quick look at my Songs of the Day reveals my fondness for the music of my teen years. As I’ve aged, my favorites tend to be the more obscure music, especially synth-pop and smart dance tracks. Alison Moyet and Vince Clarke perfected both. Their brief collaboration as Yazoo (Yaz in the States) turned out two fine albums. This is the better of the pair by a safe margin. Creative synth work, good lyrics, and Alison Moyet’s rich, wonderful voice — magnificent!

FogelbergInnocentThe Innocent Age (1981, Full Moon / Epic) Dan Fogelberg
Not quite the first album I ever bought — an honor that goes to Helen Reddy’s Long Hard Climb — I consider this the launch of my serious music collecting. It’s also a great collection of songs, singer-songwriter magic at its most compelling. Fogelberg gets pigeonholed as an AC balladeer, but his songs could rock, jig, or soar as well. This beautiful song cycle, created as a cradle-to-grave series, shows off all his talents to great effect. A sentimental and musical favorite, packed with hits.

watersonlOnceinaOnce In A Blue Moon (1996, Topic) Lal Waterson & Oliver Knight
The only reason the extended Waterson family shows up this late is that it was nearly impossible to pick one album. While a stay on Waterson:Carthy island would be delightful, Rule 3 demanded a choice. In the end, a dash of Rule 2 combined with the fact that Lal Waterson is one of my favorite songwriters ruled the day. A brilliant set of songs told in her distinctive style with sympathetic support from her talented son, it’s one of the rare albums that I’ll sometimes put on repeat. As an added bonus, Some Old Salty wraps up the album with a good old family sing-along, sneaking some talented relatives onto the island. Family runners-up included Martin Carthy, Bright Phoebus, Norma Waterson, and Red Rice.

Fairport_Convention-Liege_&_Lief_(album_cover)Liege & Lief (1969, A&M) Fairport Convention
Another tough choice. Fairport belonged on the list (although the Richard Thompson double-dip almost got them cut), and What We Did On Our Holidays is my favorite of their albums. This is a close second, however, and Rule 3 brought it home. A pioneering disc, creating the trad-rock genre, it shows the band at the peak of their powers and adds more traditional British music to my island mix.

FearingIndLulIndustrial Lullaby (1997, True North) Stephen Fearing
Another Rule 3 decision, made with great difficulty. I encountered three very different modern folk talents in the same year (1993) and they form a musical trinity for me. Stephen Fearing, Patty Larkin, and Ellis Paul have unique voices but could easily share a stage. (I’d pay to see that!) Since they weren’t here to play rock-paper-scissors, the decision came down to the sheer poetry — lyrical and musical — of Fearing’s album and its astounding cohesion.

TriffidsCalentureCalenture (1987, Island) The Triffids
I had five albums left on my list, and the Triffids dark masterpiece won the final spot. This album is the least like anything else on the list (with Yaz coming in a close second), a strong rock sound with a uniquely West Australian perspective. Urgent and compelling from start to finish, it’s one of the strongest Rule 2 albums in my collection. It didn’t hurt that the title refers to hallucinations caused by too much time at sea.

There you have it, my island playlist is complete. Before I close, I’d like to acknowledge the many amazing artists that bring me musical joy who stayed safely on dry land: The Bats, Peter Blegvad, Nick Drake, the Finn Brothers in all their incarnations, Jethro Tull, the extended McGarrigle – Wainwright family, Stephin Merritt and his many projects, Oysterband, R.E.M., Spirit of the West, those mentioned above, and many more. I’m VERY glad that I don’t have to make this choice as anything but an interesting exercise.

Finally, a note of farewell to my Album of the Week feature. I truly enjoy writing these pieces — and there are certainly more albums to explore — but the limits of my time, collection, and budget demand closure. It seemed fitting that I bookend the regular features with two Richard & Linda Thompson albums and close out these posts as my Jukebox celebrates its fifth anniversary. I will continue my Song of the Day every weekday and Saturday Time Capsules; I may also add an album now and then as inspiration strikes.

Now, if you’ll excuse me, the music of my island is calling…

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Song of the Day, January 11: Tie Me At the Crossroads

BlackieCrossroadsToday’s song is a rousing example of a cover that outperforms its source. Bruce Cockburn wrote Tie Me At the Crossroads for his 1994 album Dart to the Heart. He turns in a stirring performance, creating one of his most energetic songs. It’s a smart lyric that looks at making the most of life and leaving no regrets behind. It also reflects Cockburn’s awareness of his role as a “serious” singer-songwriter.

Although I want to be taken seriously, some people take it too far and start investing my insights with greater power than they ought to. At that point, you have to chuckle. It’s great for other people to take you seriously, but you’d better not be guilty of doing it to yourself.

His sense of humor shines through the lyrics and the driving acoustic performance.

Blackie and the Rodeo Kings — Stephen Fearing, Colin Linden, and Tom Wilson — frequently cover other Canadian folkies on their albums. Their finest record, BaRK, includes a  searing version of the song. With each singer taking his turn on the verses and a perfect blend of vocals on the chorus, they make the song their own. That’s quite a feat, given Cockburn’s strong version and the personal nature of the lyrics. That kind of inspiration marks the finest of writers and performers.

Enjoy this amazing cover today.

Album of the Week, October 18: BARK by Blackie and the Rodeo Kings

BlackieCryinWhat started as a one-off superstar tribute project became one of the finest roots bands in North America. Canadian folk/blues/roots musicians Stephen Fearing, Colin Linden, and Tom Wilson built strong reputations of their own — and had worked together to support each other’s projects — throughout the 80s and early 90s. They got together in 1996 to pay homage to a shared favorite, Willie P. Bennett. High or Hurtin’ featured solid covers of some of Bennett’s best songs; the trio credited the disc to Blackie and the Rodeo Kings, a name taken from Bennett’s 1978 album. They had so much fun together that they decided to make the Kings a regular project, working it in around their other recording, performing, and producing activities. In 1999, Kings of Love — a sprawling, delightful two-disc mess of music — featured more Bennett with other well-chosen covers and solid originals from all three artists. It also won the trio a Juno award for best group roots album. Five years later, the trio re-assembled and put together their finest collaboration, taking its name from the handy acronym created by the group’s initials.

Album BARK
Act Blackie and the Rodeo Kings
Label True North Release Date April 13, 2004
Producer Colin Linden
U.S. Chart  n/c U.K. Chart  n/c
Tracks
  1. Swinging From the Chains of Love
  2. If I Catch You Cryin’
  3. Water or Gasoline
  4. Stoned
  5. Lock All the Doors
  6. Had Enough of You Today
  7. Born to Be A Traveler
  8. Jackie Washington
  9. Heaven Knows Your Name
  10. Song On the Radio
  11. You’re So Easy to Love
  12. Willie’s Diamond Joe
  13. Tie Me At the Crossroads
  14. House of Sin

By this point, the Kings were a well-honed unit, making the most of Fearing’s amazing voice and folk storytelling, Linden’s blues inclinations and production skills, and Wilson’s stellar roots rock power. They kick things off with the driving Swinging From the Chains of Love, a brilliant bit of love-hurts-and-I-can’t-get-enough. It rocks hard and swings fast, welcoming the listener to the party.

If I Catch You Crying could have been a lovely Fearing solo ballad, given extra punch by his bandmates. It’s a great example of the way talented folks can inspire each other and one of the finest songs in any of the Kings’ catalogs. They trade off vocals in the scorching Water or Gasoline, a fresh look and a long-standing blues metaphor. Wilson comes to the fore in the ambling Stoned, another song that could have been trite but instead emerges as inspired. He captures the lackluster energy flawlessly as the other Kings provide a solid electric backdrop.

Lock All the Doors is one of Linden’s finest moments, an aching blues-country song about erasing an unfaithful lover. It’s a well-constructed conceit,  a sort of sad brother to Lucinda Williams’ angry Changed the Locks. Wilson follows with a song of somewhat vulgar independence, the charming Had Enough of You Today. Fearing’s lovely road song, Born to Be A Traveler, wraps up this trio of near-solo songs. The formula works so well, that they repeat the cycle. Linden provides Jackie Washington, a smart musician-riding-the-rails tune with a nice dash of Canadian pride thrown in. On Heaven Knows Your Name, Wilson provides just the right pensive vocal to support the bittersweet lyrics. Fearing’s Song on the Radio is a wonderful bit of shared nostalgia, with a delightfully wistful vocal. These triptychs underscore how much more the Rodeo Kings are than just the sum of three talented parts.

With You’re So Easy to Love, the energy eases back in and the tone grows brighter. It’s a nice transition, followed by a pair of smart covers. Willie P. Bennet provides Willie’s Diamond Joe, a reminder of the talented inspiration that brought the trio together. It’s followed by one of the albums strongest moments, an amazing cover of Bruce Cockburn’s Tie Me At the Crossroads. With surging energy and a tight three-part harmony lead vocal, the Kings pull off the rare trick of trumping a solid original. Things wrap up with the gospel-tinged House of Sin, another Linden original that captures the whole roots magic of the group in one wonderful track.

With BaRK, the Kings cemented their reputation as a real band, not just a solo-artists’ lark. While all three men continue to record on their own and in other projects, many of their finest moments in the past decade have emerged from the alchemy of the Rodeo Kings.

FURTHER LISTENING: Fearing, Linden, and Wilson all have impressive catalogs of their own. I’m partial to Fearing’s work, the best example of which is the stunning musical poetry of Industrial Lullaby. When it comes to the Rodeo Kings, every album (seven so far) has something to offer. Looking for a starting point? The 2008 compilation Swinging From the Chains of Love is a perfect snapshot of the best of the Rodeo Kings.

Ironically, of the group’s main albums I find the Bennett disc the least interesting; it’s solid, but lacks the spark that comes in with the multiple writers on other discs. Kings of Love suffers slightly from being stretched over two discs, but it’s an impressive set. Let’s Frolic and Let’s Frolic Again avoid that problem by splitting a marathon session into two releases — tight and polished vs. loose and charming respectively. On Kings and Queens the guys offer up 14 duets, each with a different roots/folk woman; it works surprisingly well and has some amazing moments. South is the most like BaRK, a nice mix of songs that really presents the Kings as a band.

Song of the Day, January 12: Early Morning Rain by Gordon Lightfoot

gordon-lightfoot-early-morning-rain-1971Today’s song is an early success by a master singer-songwriter. Gordon Lightfoot wrote Early Morning Rain in 1964 as his career was just beginning, inspired by watching a friend fly away. The lyrics are deeply evocative, conjuring up the cold, grey morning flawlessly. Lightfoot connects the airfield and plane to the longstanding folk-blues tradition of riding the rails, emphasizing the down-and-out situation of the narrator. It’s a smart conceit that ties together a magnificent musical package. With a simple, compelling tune, the singer weaves a compact story with great emotional resonance.

This old airport’s got me down – it’s no earthly good to me
‘Cause I’m stuck here on the ground as cold and drunk as I can be
You can’t jump a jet plane like you can a freight train
So, I’d best be on my way in the early morning rain

Working primarily as a writer at that point, Lightfoot had his breakthrough with this song. Ian and Sylvia recorded it in 1965, as did the Grateful Dead and Peter, Paul and Mary — who had a minor chart hit with it. Lightfoot himself included it on his 1966 debut. Since then, a vast array of talents have interpreted the song including Judy Collins, Bob Dylan, Elvis Presley, Jerry Reed, Neil Young, and Paul Weller. Lightfoot himself re-recorded it for his 1975 greatest hits package, Gord’s Gold.

Nothing beats the original, however. Enjoy this brilliant folk-pop gem today.

BONUS: Nearly 50 years after Lightfoot wrote the song, another Canadian folk-pop master recorded the best cover version of the song. Stephen Fearing’s deep, emotive voice is a perfect vehicle for the mournful lyrics, and he used the song as a perfect coda to his 2013 album Between Hurricanes.

Song of the Day, December 26: Nickels and Dimes by Blackie and the Rodeo Kings

BaRKLoveNickelsToday’s song is Nickels and Dimes. Canadian folk and roots-rock musicians Stephen Fearing, Colin Linden and Tom Wilson formed Blackie and the Rodeo Kings to record a tribute to Willie P. Bennett. They enjoyed the collaboration so much that they began writing original material for the trio, eventually releasing the two-disc, 23-track opus Kings of Love. It’s a great showcase for their individual and combined talents.

Nickels and Dimes is a standout track, written by Fearing and Wilson. It’s narrated by a man who feels trapped in the small town where he lives, desperate to escape the narrow-minded bigotry and aimlessness all around him. Fearing’s powerful voice is perfect for the anguished delivery and Wilson turns in a searing guitar solo that heightens the narrative tension perfectly.

Enjoy this powerful song today.

Song of the Day, July 1: Black Silk Gown by Stephen Fearing

FearingBlackSilkToday’s song is Black Silk Gown from Stephen Fearing’s powerful fifth studio album That’s How I Walk. It’s a great showcase for his guitar work, vocals, and stunning lyrical sense. Using the gown as a repeated metaphor for his journey to reunite with a loved one, he propels himself along the dark highway in a compelling narrative.

Driving through to midnight between the rumble strips
Never let your promises get too far from your lips
‘Cause the night is shot with diamonds
Above these dark New England towns
And the highway drawn beneath me like a black silk gown

Enjoy this wonderful song today.

Song of the Day, January 10: Swinging From the Chains of Love by Blackie and the Rodeo Kings

BlackieSwingingToday’s song is Swinging From the Chains of Love by Blackie and the Rodeo Kings. The trio of folk and roots-rock Canadian performers Stephen Fearing, Colin Linden, and Tom Wilson, BARK provides an opportunity for the men to blend their talents and stretch their musical horizons collaboratively. This song appears on their stunning third album, BARK, their most cohesive disc.

A song of love gone wrong — in so many ways — it’s a powerful setting for the trio to show off their chops. With a driving beat and a stunning duet vocal by Fearing and Wilson, it’s a highlight from a group with many powerful moments.

And I’m not done with these passionate chains
I’m draggin’ them around town making such a sad sound
You better look out mama ’cause I’m so strung out
Swingin’ from these chains of love

Enjoy this great live version of a wonderful song today.

Song of the Day, August 7: Anything You Want by Stephen Fearing

FearingAnythingToday’s song is Anything You Want by Stephen Fearing. It’s another standout track from his masterpiece, Industrial Lullaby. Written with frequent collaborator Tom Wilson, the song is a delightful romp that shows off Fearing’s sense of humor. The story of a cheap hustler working every angle, it fits nicely into the themes of the album while providing a more light-hearted moment. Fearing also made a rare video for the song that captures it delightfully.

Oh work me up another cup of coffee
Shelter me a lot more than a minimum wage
Truth I wrote it all before
Tacked the list on my back door
Between the fine print and the guarantee
Anything you want you can get it from me

Enjoy this seedy delight today.

Song of the Day, June 3: When the World Was A Well by Stephen Fearing

FearingWellToday’s song is When the World Was A Well by Stephen Fearing. It’s the powerful closer to his amazing 1997 album Industrial Lullaby. Singing in his deepest register, Fearing weaves his usual magic in an ode to knowing when to move on. Moving deftly from a look at a wider canvas to the way the world can erode personal connections, he makes a potent statement.

Long ago I remember when the world was a well
And we reached for the oyster and the pearl and the shell
But we got lost in reflections and went over our heads
Lost the thrill of affection and the reasons we wed

Lovingly crafted, achingly sung, and beautifully scripted, it’s an especially strong song from an amazing craftsman.

Enjoy this great song today.

Album of the Week, May 19: Industrial Lullaby by Stephen Fearing

FearingIndLulRBHSJDIDBadgeStephen Fearing was born in Vancouver, BC in 1963 and raised in Dublin, Ireland. He absorbed the rich musical heritage of his adopted country before returning to Canada in 1981, where he began pursuing a musical career. With a strong, deep voice and a distinctive guitar style, Fearing began to make a name for himself in folk circles. He performed regularly and released a cassette-only album eventually signing with a Canadian label. His debut, Out to Sea, emerged to critical acclaim in 1988. After two more albums and extensive road work — both solo and as support for a wide variety of folk acts. He wrote a number of songs while on the road and after an extended break assembled his most powerful album.

Title Industrial Lullaby
Act Stephen Fearing
Label True North Release Date September 1997
Producer Colin Linden
U.S. Chart  n/c U.K. Chart  n/c
Tracks
  1. The Upside Down
  2. Anything You Want
  3. Industrial Lullaby
  4. Home
  5. Coryanna
  6. Long Suffering Waltz
  7. Blind Indifference
  8. Dog On A Chain
  9. Man O’War
  10. So Many Miles Away
  11. All the King’s Horses
  12. Robert’s Waterloo
  13. When the World Was A Well

Like much of Fearing’s output, Industrial Lullaby is introspective and personal. It also reflects his sense of the world around him and the power of the privileged to determine the lives of those less fortunate. It makes for a powerful mix, and he brings all his musical and lyrical strengths to bear. He also enlists a number of strong collaborators, notably producer Colin Linden and occasional co-writer Tom Wilson.

The album opens with The Upside Down, a potent lament on the fate of the working class. The first words of the disc, “I just don’t get it,” set the stage for the journey to come. With a strong band backing him up, Fearing turns his aching vocals to the plight of the oppressed, merging the personal with the universal and getting things started on just the right note. Anything You Want changes the focus and reminds us that even a serious folky can have a sense of humor. It’s a whimsical but biting reminder of the kind of power that money can buy and the ridiculous excesses that it can lead to. Fearing’s vocals strike just the right tone, making this pair work beautifully together.

The title track is a dark ode to the kind of transient life that faces industrial laborers as manufacturing is moved overseas in the name of profit. Unlike his usual complex lyrics, these words are spare, capturing the desperation and tentative means of the worker while retaining a painful sense of humanity. As a lovely counterpoint, Home is a testament to having a place to land and feel centered. Clearly reflective of a singer’s life on the road, Fearing crafts a lyric universal enough to fit any traveller’s ache.

Written with Canadian legend Willie P. Bennett, Coryanna is a sad song of a doomed romance. Delivered with minimal instrumentation, it’s a spare and haunting tune. Long Suffering Waltz is one of two instrumentals on the album, a short piece penned by Fearing and showcasing his stellar guitar work against a lovely violin counterpart.

Politics and privilege re-emerge in Blind Indifference, an angry song that fits in the best protest folk traditions. With gospel-tinged chorus and a whirlwind of energy, it’s one of the most demanding songs on the album and a perfect testament to the challenges Fearing highlights. Dog On A Chain looks more closely at personal responsibility. Deftly using his lower range, Fearing turns in a perfectly mournful vocal as he reflects on “all the mistakes I have made.” Margo Timmins of Cowboy Junkies provides a beautiful harmony vocal, adding to the texture of the song nicely. Man O’War is a ballad in the old military tradition, using the old tales of conscription and combat as a backdrop for modern life and loss.

The album’s highlight — and one of Fearing’s finest songs — is So Many Miles Away. A part of the long musician-on-the-road tradition, it rises above its company in Fearing’s capable hands. Musically flawless, it merges hope, love, and loneliness in a wonderful package. Fearing’s wonderful sense of lyric is also at hand as he presents one beautiful image after another, as when he notes the sunlight glinting from cars “cuts the thread of winter from the ground.” It’s a brilliant song and by itself is worth the price of admission.

All the King’s Horses is another look at everyman’s complicity in the political mess wrought by the powerful. It’s followed by the second instrumental, a wonderful reading of Robert’s Waterloo which showcases Fearing’s guitars nicely. The album wraps up with When the World Was A Well, a darkly lovely song that insists we all do what we can to heal the world. Recognizing the countervailing forces from the previous tracks, it insists we not surrender but make our best efforts. Once again showing off Fearing’s resonant voice, it serves as a modern, secular hymn and leaves us with our clear charge.

FURTHER LISTENING: All of Fearing’s solo albums have something special to offer. The Assassin’s Apprentice has some of his finest lyrics and musical work, but is a bit inconsistent. That’s How I Walk is much more consistent but a bit slick and doesn’t quite have the strong peaks. Fearing has worked extensively with Colin Linden and Tom Wilson as Blackie and the Rodeo Kings. Initially assembled to record a Willie P. Bennett tribute, they enjoyed their collaboration enough to tour and record regularly. Their finest offering is 2003’s Bark, a nice mix of originals and covers that shows off the contributions of all three performers.

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