With a nod to the Hank Williams tune of the same name (which also was the name of a book Earle authored), this Steve Earle album released last spring is a collection of songs dealing mostly with mortality, keying off of his father’s passing.

Though the songs were written over a three-year period beginning shortly before his father’s death in 2007 through the fall of 2010, they were all recorded on one spring day in New Orleans and in “five short ones” the next fall in Los Angeles.

If I have to fight with you over the logic of releasing a double LP of music transferred from 78s, just think of your battles with digital lovers over the superiority of vinyl! I'm not suggesting that the original 78s from which this absolutely fascinating and often startling compilation was sourced sound like modern, full frequency response recordings. However, in the vital midrange, the sense of "living presence" is remarkable.

Johnny Cash's third album and his major label debut  recorded in 1958 and issued in early 1959 doesn't mess much with the Sun era shuffle-and-twang musical formula. Luther Perkins does the twanging as he did as a member of The Tennessee Three, Cash's backing group but the overall sound is somewhat watered down.

Pure Pleasure’s musical archeological digs have managed to find some interesting obscurities, this Gil Evans session from 1959 being one of them. It certainly deserves to be brought to your attention. However, its appeal will be limited to aficionados of Evans’ arranging excellence than for any other reason, though many fine players are involved, particularly and obviously trumpeter Johnny Coles as well as Steve Lacey, among others.

The very first London "Blueback" probably engineered by the great K.E. Wilkinson in London's superb sounding Kingsway Hall combines stunning sonics with an accessible, lyrical musical program. Mendelsohn wrote the Overture opus. 21 in 1826 when he was but 17 years old. The remainder was written almost two decades later, commissioned by Prussian King Frederick William IV as accompaniment to an 1843 performance of the play.

Do you need to add yet another Beethoven symphony cycle to your record collection? What's that you say, you don't have even one? That's not good. Every record collection should include at least one set of Beethoven symphonies even if you don't like classical music.

How can I say that? I'm the editor here, that's how.

Cleaned up, hair cut, even shown bowling in the gatefold photo layout, James Taylor, many felt at the time, had clearly sold out to corporate America by signing with Columbia Records. By 1977 his long hair, hippie days were over and so were ours, but many diehards resented the slick shift and were appalled by the whole thing, starting with the cover photo.  

Let's divide the world into two groups: one that says "Gene who?" and the other that recognizes the late Gene Clark as one of the greats from the rock era. That's my side of the divide.

Clark possessed a seemingly minor vocal hitch among his sadness cues that, alone could make a despot weep. The other elements of his rich voice were equally effective.

Let's divide the world into two groups: one that says "Gene who?" and the other that recognizes the late Gene Clark as one of the greats from the rock era. That's my side of the divide.

"My girlfriend loves everything at the beach except the sand, the surf and the sun."  That lyric pretty much sums up the playful, sensous, and dangerous kitsch-world of this exotic six person  L.A. group fronted by the black widow spider persona of the sexy Cambodian pop chantreuse Chhom Nimol whose fixation with '60s Cambodian pop fuels the music.