Of Indians, Italians, Germans And Pirates: Terry Dolan's Later Adventures Revisited

Making a hackneyed joke about how all the Germans love the music of David Hasselhoff is akin to maing a joke about Nickelback being the bane of any real fan of rock music - there is some truth to it but boy, is that joke worn out. Oh, also: Did you lnow that Germans love The Hooters more than almost anyone else? And, since you've read the title and checked the artwork, you'll probably know where this is leading. One country loved the best bar band ever - or at least the most accomplished bar band ever - more than any other country, although Italy fought them really hard/ Why it's ze Germans, of course. You might or will hopefully remember Terry Dolan from making one of the all-time great one-offs (or rather none-off, but that's another matter) with his shelved self-titled debut. Having given up on a solo career, Terry Dolan formed Terry & The Pirates, a.k.a. the best bar band ever. 

Led instrumentally, as Terry Dolan originally had been, by the twin-guitar attack of Greg Douglass and John Cipollina, Terry & The Pirates became a local legend in the Bay Area and consistently drawing in its musicians. But being a great bar band with a really good songwriter like Dolan and a guitar player extraordinaire like John Cippolina didn't mean that the record comapny industry had a use for an aging (urban) legend like Dolan, and his merry band of pirates. They could fill the local bars and watering holes around, but despite Cippolina's somewhat legendary West Coast status and Dolan's proof of talent, they couldn't get a record company to bite on them, after Warner Brothers ditched Dolan. Enter ze Germans. Though to be fair, and chronologically correct, entra en scena: gli Italiani. 

Now that's some pirate crew ya got there, Terry...

Why exactly Germans and Italians latched onto Dolan's good-natured Westcoast rock, while the band couldn't make an impression anywhere else, is a mystery. But Italy and Germany it was to get Terry & The Pirates a forum. The Italians were first with a live album (1979's Too Close For Comfort), but to bring out an honest-to-goodness studio album, Terry & The Pirates had to cross the Rubicon Rhine. Their 1980 debut The Doubtful Handshake and 1981 follow-up Wind Dancer were only issued in Germany, 1982's Rising Of The Moon was at least also issued in Italy a year later. Given their popularity in Germany, it's not surprising that the band was flown over for a very short visit in the same year, but long enough to show up on Germany's legendary Rockpalast concert series, that were televised.    

I mentioned this towards the end of my write-up on Terry Dolan's classic that never was, that his music career didn't end there, and that I might look at his later career a little further on. Well, the time is now. Native American Trilogy is inspired by the artwork of those three albums - as well as the content of a number of songs - and compiles the best moments of those records, which for all intent and purpose are the only records the band did during the Eighties, arguably their high-time as a performing outfit. By the time of Rise Of The Moon, the band had shed their late 70s West Coast rock sound for a typical 80s production, ultrasynthetic and booming-sounding. That's why the title song of that album is here in a nicer, tougher-sounding live version from that Rockpalast concert, together with an instrumental Cippolina showcase called "Cobra". 

Notice ze German-speaking sticker on ze album cover, ja?!

As for the songs, most of them are good old fashioned rock songs, some with a country feel, like the ballad "Montana Eyes" that he cut two times across these three albums, and both versions are equally good, so I kept both. Also on board of this pirate ship is the first issued studio version of Dolan's classic "Inlaws And Outlaws", that had been in his repertoire for the past seven years or so, before making its debut on Too Close For Comfort and, in a muscular version, its studio album debut on The Doubtful Handshake. While not earth-shaking or suer-innovative, these are very fine songs that deserved to be heard by more people than just ze Germans et gli Italiani. 

And now of course you can be some of the lucky non-German and non-Italian folks listening to more Dolan, as we all should. 

P.S. For more John Cipollina, check out Jim Murray's The Ladies Man, if you haven't already... 

Hey There Bubba, Get Yer Fiddle, Time For Another One Of These...

X To The B To The G To The C, y'all! Word! Oh, uh, I'm sorry, wrong genre. Howdy y'all, my fellow musical country bumpkins and Bluegrass lovers - it is indeed the time of X, as in, the tenth volume of our Bluegrass Chartbusters series. That would be a neat achievement for many a series, but as I hinted at before, for this particular series it's fair to say that we've only just begone... 

Nothing new 'round these parts in terms of what you'd expect and what you'd get: another set of twenty handpicked covers of yesteryear's chart entries, as brought to you by the same fine batch of musicians that populated the first nine volumes. We sadly say goodbye to the long-defunct Grass Cats, who leave this series with a very fine rendition of Bill Withers' "Ain't No Sunshine". And we say hello to a new band of contributors, the ominously named Grassmasters.

Bye Bye Cats, it's been god knowin' ya!

Grassmasters sems to have been the short-term rival project of the cheapo comp and lapsed copyright release specialist Synergy Entertainment for the subgenre's undisputed king, CMH's Pickin On...-series. They brought out three dozen albums between 2004 and 2010, with most of them cmoing out in 2005 and 2006, or around the prime of the Bluegrass cover album genre, probably to compete with the Pickin' on offerings. And while CMH was using this boom period to branch out into a ton of less conventional artists and genres, The Grassmasters stayed with the classics, covering Dylan, Clapton, Aerosmith, Johnny Cash, The Grateful Dead, Fleetwood Mac and Elvis. The latter's "Heartbreak Hotel" is included here as their introduction to the series. Most of their work is instrumental, though they would occasionally add vocals to some selections and we will see them again a number of times. 

Lots of good stuff covering artists we haven't had on the series before: Jackson Browne! Poison! Daft Punk! The Raconteurs! Urge Overkill! The Dream Academy! My personal fave from this collection is Love Canon's wonderful take on Bruce Hornsby's "Just The Way It Is", which for me brings out the emotional nuances of the song better than the original. I'm also quite taken by Steve'n'Seagulls' take on AC/DC's "You Shook Me All Night Long", which captures the song's ridiculou single entendre's perfectly. And long-time reliable series contributors The Petersens, mainly working in the ballad section, surprise with a groovy take on Alain Toussault's "Southern Nights" (made famous by Glen Campbell, of course) in which Julianne Peterson really let's the Southern drawl shine through. For, you know, that extra Southern feeling. 

So, folks, throw this on for another smokin' good time with them Bluegrass Chartbusters, as ever, only and exclusively brought to you by One Buck Records and the One Buck Guy...

Get Into The Spirit Of Spirit...Once Again

Someone asked, the One Buck Guy delivers. In spades. Indeed, all original Spirit links are dead, as these have been around for a while. Short reminder: You want a re-up, just ask for it, as 'Unknown' did. Now, if he had given himself a nickname to sign his message, in the name of convivility, that would have been even better, but we're off to a good start. So, here's the sprited Spirit Five Pack,

including

- the reimagined one album version of sprawling double whopper Spirit Of '76, one of this blog's first 'classics' which you can find more about here.   

- the Spirit Of The Seventies comp that compiles the rest of the worthwhile 1970s Spirit material post-Sardonicus into much more listenable form, with more info over here. 

- Radio Aqua Blue, the power quartet albumm that Spirit could have brought out in 1979 during a lean period in Spirit land (which, by now you have guessed, you can read about more here).  

- Possible follow-up Rock Of Ages, featuring lots of guitar power from the once again power trio (I don't post a link since the write-up is really short and relatively inconsequential). 

and finally

- the Spirit of The Eighties comp that compiles the band's uneven 1980s material into a very listenable compilation, that I talk about here.

The words, wit and wisdom of the One Buck Guy (ahem...) are over there, the music will be right here. 

Hours of heavy rock'n'roll, beautiful ballads and endearing oddities from Randy California and his ever-changing - except step dad Ed Cassidy of course - line-up of sidemen.

This is your chance, folks, get into the Spirit of Spirit once again...

Summer's Just Around The Bend - And I Got The Music For It...

I guess four CDs are not that much in the grand scheme of things, especially the grand scheme of my music collection, which should be somewhere north of 2.500 physical albums. But if someone would read along the labels of albums and go by 'R', they would say, hey this guy really likes Rascal Flatts. Which I kind of do, although I'm not some sort of super fan. I actually came into the posession of these four discs by happenstance. There was a used & new music store in the Paris city centre which I usually visited twice per year. Yes, you guessed it, during les soldes, the special sales weeks that are coming up next week I believe. That music store had this back room full of CDs that they really wanted to get rid of, and they really wanted to get rid of them during les soldes, so the deal was 'empty out these racks of crap, and to make sure you'll do, you'll get 15 CDs for ten bucks'. Which, for year, I happily obliged. These 15 CDs would often break down in about 3-4 that you would genuinely be happy to have 5-6 from artists that you'd know and might like and about 5 free agent/take a flyer albums that you took to make up the count. 

It's been a couple of years, but during my - by that time probably only annual - visit, four of Rascal Flatts' albums fell in my hand during the 15 for 10 hunt. I had only heard the name, might've heard "Bop That Head" exactly once on the radio and knew that they were broadly classified as country music. So in the bag with those four! Clearly, the music store had drastically overestimated the Parisians' hunger for friendly coutry pop as clearly these discs were brand new. I guess the store had just quietly emptied out their Rascal Flatts section and moved these discs into the dreaded backroom purgatory, where Cds don't go to die, but to linger undead around for years. But no more! One Buck Guy to the rescue! 

Having brought my big-ass plastic bags of treasures home - there was the same deal for DVDs, so I normally arrived with fifteen new CDs and fifteen new DVDs, much to the wife's happiness, no doubt - how to proceed with this band I somewhat barely knew. So I went with the chronological approach, taking the oldest disc, Feels Like Today. A mistake, as it was the worst of the four albums, by quite a bit, full of sappy ballads and not much else of interest. But things got better, once we hit Me And My Gang, Still Feels Good and Nothing Like This. Here's the thing about Rascal Flatts' music: It's not great music and it's not very profound. But it is fun, especially if you weed out all those sappy ballads, which was the trigger for today's One Buck record of the day. 

Summer's Just Around The Bend - it's title taken from aline in kick-ass opener "Red Camaro" - is named as such, because that's what Rascal Flatts' midtempo and uptempo evokes: Rolling in a car with the windows down, fighting off the heat that comes right between the end of spring and the beginning of summer. There's tons of things Rascal Flatts' music is not good for - philosophizing for one thing - but this is great driving music. If only I could still have a car that accepts, you know, physical bearers of musical gifts. Not in the wife's Muskmobile, of course! Originally it was about fourteen tracks as a sort of best of of those four discs, but then I decided to go the whole hog, dropping two sappy-is numbers and filling it up with fun and uptempo numbers from throughout the band's career. 

They're rednecks and male models all in one - they're reddels. Oh, they also make some music...

There's a reason why Rascal Flatts' music got better and more immediate with Me And My Gang, and that reason is named Dann Huff. The long-standing Nashville producer and former member of AOR/hard rock band Giant. It's obvious what Huff brings to the table: more guitars, more stadium-ready choruses, a lot more punch to the proceedings. Also included is "Backwards", one of the rare 'country humor' songs that I really like, and that are funny - the yodeling honky tonk intro that makes Gary LeVox sound like Garth Brooks giving way to a frenetic rock-based list of all the things that you get back, when you play a country record backwards. Fun stuff! And then I made room for exactly one (1) sappy ballad, their cover of Marcus Hummond's classic  "Blesss The Broken Road" which is a wondeeful song, and as the closing number I'll allow it. 

I haven't had time yet to make fun of the dudes' names. Gary LeVox and Jay Demarcus can at least claim royal lineage or Cajun kin or something with those names, but how great of a redneck name is Joe Don Rooney? His parents were seemingly big fans of Walking Tall, which makes it even better and more Redneck-y! At least they didn't name him Buford! This willl almost certainly be the only Rascal Flatts album around here, so allow me to make some good-natured fun of Joe Don while I can! 

Oooh, moody, baby!

Anyway, let's cut the chit chat, and the mockery of poor Joe Don (...on second thought, let's not), and get down to business. Twenty Rascal Flatts tracks, one great comp to roll down the highways (or, you know, your diveway) and feel the sounds of the summer... 

 

80s in 20 = APNS 40. Yup, The Math Checks Out...

40 isn't a milestone when it's your birthday. I might only speak for myself, but I felt I took like five years in one once that hill was climbed, little health issues and what not cropping up. But for our oldtimer of series here on One Buck Records? Reaching 40 is nothing to sneeze at, so we won't, celebrating its, uh, 40th birthday volume with, uh, a hearty but underplayed 'yay'. And even for this low-key anniversary, we have invited some illustrious guests, as this volume of All Pearls, No Swine has possibly the highest number of high-profile names to date. 

Starting the festivities is Mr. Warren Zevon with the The Envoy-outtake "The Risk", a synth-driven rock track that sounds one of the Springsteen-inspired tunes Zevon would occasionally write at the time. Well, he certainly beat freakin' Rusty Young in fake-Springsteen-ism! (Ka-ching!) Other big name contributors include Ian McCullough, The Jesus and Mary Chain, Bob Welch, and Bonnie Tyler. The latter has the frankly astonishing Jim Steinman-produced cover of CCR's "Have You Ever Seen The Rain", that is really more of a re-imagining, earning Steinman a co-writing credit in the process. Oh, and there's R.E.M. sending us out with their cover of the classic "Moon River", because why the hell not.  

"I'm not sure, we're looking cool here, guys..."

This volume probably doesn't have as many real obscure treasures as other volumes, but folks like Bryce Wemple, Gable Wales, The Jeffords Brothers and Echo Beach hold up the banner of the tiny indie label/self-pulished record fraction. Toys and The Cheepskates bring the power pop/garage rock yo the table, while Swiss AOR popster Phil Carmen goes country pop with "Born A Rider". Mazarati are almost forgotten also-rans from Minneapolis, who were of course protégés of Prince, who gave them a number of songs to record, but after hearing their so-so take on "Kiss" decided to take back the track and recorded it as the classic we all know and love. Mazarati's backing vocals stay in the mix of the released Prince version, which shows what character can do for a song, but just for comparison's sake it's interesting to hear their original take on "Kiss", inferior as it may be. 

The Bellamy Brothers were never cool, and their smooth country-pop is strictly of the okay variety. I tried to put a little comp of them together, but even a ten track album has some less-than-great stuff on it, so I said 'fuck it', finally gave up on that idea, and instead placed thir far and away best song on here. The rest might be not all that, but "Kids Of The Baby Boom" is great, a prototype of Billy Joel's "We Didn't Start The Fire" perhaps, but with actual insight and humour. They had bigger hits, but never a better song. You will need only one Bellamy Brothers song in your collection, and it's this one (Apologies to "If I Said You Had A Beautiful Body (Would You Hold It Against Me?)", which might deserve inclusion on that title alone. But I digress). 

"Well, look at us, fellas. We really aren't lookin' cool"

All Pearls, No Swine 40 has, as you might have guessed, a ton of stylistic variety from artists both known and unknown, for almost 70 minutes of fine, underrated music from the 80s. Dig it!

Some Call It Arrogance, Some Call 'Em The Best Bar Band Done Good You've Never Heard Of...

Not to underestimate the broad knowledge of my readership, but how many of you remember Arrogance? If you're not from North Carolina, there's a pretty big chance you haven't heard of them. I sure hadn't heard of the band before stumbling onto them while - quite fittingly - looking for hidden gems for the All Pearls, No Swine series. as a matter of fact, the first tracks landed in that folder, but I kept finding more and more tracks of them that I liked, so I did a deep dive that inevitably ended up with an anthology. And as usual, ol' OBG goes big, with a two-disc compilation covering the best bar band you might never have heard...or heard of... 

Arrogance were nothing if not verstile and have gone through a number of different musical styles throughout their career, which is a bit of a challenge for a career overview, so this time I opted for a chronological approach, where the sylistic breaks are still noticable, but you don't get wiplash from jumping from one style to another.

They started out as a hard rock outfit in the Deep Purple mold, with numbers like "Black Death" even dipping into Black Sabbath territory thematically, They released a single with that song and another self-written effort, "An Estimation",  in 1970, but it went nowhere, so Arrogance was in a holding pattern for a bit. The entered the studio in April 1971 to record their debut album, but that project was finally shelved and only saw the light of day in 2016 as Knights Of Dreams. Knight Of Dreams shows them moving away from the early hard rock into a still hard-edged rock sound with prog tendencies. Mike Greer used two of his compositions fom the sessions, the ballads "Send Me Back" and "Night Of Dreams" - both found on our One Buck Records album of the day - on his solo debut Between Two Worlds, released on tiny local Charlotte, North Carolina-based label Sugarbush in 1973. The same year Arrogance finally got a record of the ground, also on Sugarbush. 

By this time of the hopefully titled Give Us A Break, the music of Arrogance had already changed significantly, becoming a lot more mellower and acoustic, touching vaguely on country rock, but also incorporating jazz and other elements. Sophomore effort Prolepsis also came out on Sugarbush, before Arrogance finally signed with Vanguard for 1976's Rumours. These three albums form a loose trilogy of acoustic-based music with folk and country influence. There's a ton of wonderful stuff here: Their inofficial hymn "We Live To Play" - less than thirty seconds and a capella - for one thing, recorded twice and featured here twice, And many other wonderful songs, such as "Ma And Pa", "To See Her Smile", "People Aren't Free", "Why Do You Love Me", "Sunday Feeling", and the epic "Sun Sweet".

With this kind of friendly acoustic/country-rock - even with the many wrinkles Arrogance added - falling out of fashion, the band rejiggered their sound for 1980's Suddenly, issued on  Curb Records, taking on a more modern pop sound, with light hints of power pop and the slightest sprinkle of New Wave.  Not everything on that album is great, but highlights such as "It Ain't Cool To Be Cruel" or "Bring It On Home" show a band having a second wind, though that did not result in sales, which means that not too long after the live album follow-up Lively from 1981 Arogance decided to call it quits for the time being. The band got together in 2000 for a couple of well-received live gigs, having them play a couple of gigs per year throughout the decade.

Arrogance always were first and foremost a draw as a live band, so it makes sense thar the entire back half of the second disc is dedicated to Arrogance as live performers. You can imagine the parties they got started when listening to some of this material. Most of these come from Lively, while the last three  tracks are from the band's reunion in the early 2000s, including the Dogbreath medley which compiles three of the 60s garage rock classics the band would occasionally play as garage cover band  'Dogbreath'. This medley is an exclusive One Buck Records creation.

So, this exhaustive (but not exhausting!) compilation has a bit for everyone, from the heavy rock of their beginnings, to the country-rock and stylistic mish mash of their middle year to the pop sound of their later period, and it's not arrogant at all to say they did some really god work in all of these. They might not be a great forgotten band, but definitely a band worth rediscovering. Which We LIve To Play - An Anthology gives you the perfect opportunity to, as per One Buck Records custom. Not to mention that this should do nicely as the soundtrack for the rest of your weekend...

This post is endorsed by Rick 'The Model' Martel and his amazing fragrance, 'Arrogance'

Discography: Poco (Part 2)

 ...and here's the top ten albums of Poco, as decided by the One Buck Guy!

10. Poco - Poco (1970)

Oh well, there'd be some disagreement over this, I reckon, if we woud have enough people who like and know Poco and also would deign to comment, but, alas, I guess I can rank anything anyway I want without much protest. I already made a lot of points in my write-up for my reimagined version of this album, You Better Think Twice, so I'll keep it short. The production is a little better than the debut, but the band is still sounding uncertain, and the terrible (almost) sidelong jam stays an exceedingly awful idea. You Better Think Twice would trade places with the next entry, but Poco stays stuck here. 

PS: Also, what the fuck is going on with that cover? It makes Poco sound like a brand for orange juice. Fresh from, uh, the fields in the mountains?!?

9. Pickin' Up The Pieces (1969)

I know, I know. I'm sorry, I just can't get into this album. Sure, it's historically important as their debut, but man, this thing has aged badly. The cheesy late 60s countrypolitan instrumentation. The forced 'we're having so much fun' yeehaws and laughter. The compositions which are kind of twee. Here, they don't sound much like country-rock stalwarts, having more in common with rootsy jugband music bands like the early Nitty Gritty Dirt Band, The Lovin' Spoonful or The Beau Brummels. The title song is a classic, of course, and "Just In Case It Happens, Yes Indeed" a semi-classic. But this record has to overcome its sound and aesthetic, and struggles to do so. 

8. Seven (1974)

Pretty good, but not truly top notch. My recent resequencing helps, as do a number of quality cuts like Cotton's "Driving Wheel", Young's "Rocky Mountain Breakdown" and Schmit's hard-edged "Skatin'". But there's only eight cuts, and one or two are only so-so. Still, the playing and singing here is impeccable, showing right out of the gate how good the Cotton-Young-Schmit-Grantham group could be. Also notable: Phil Hartman's first Poco cover, and a memorable one at that. 

7. Blue And Gray (1981)

Well, I've said a bunch of stuff about this album in my write-up to its slighly altered configuration on this blog. So I'll keep it short: A welcome stab of the Cotton-Young iteration of the band at coherence and respectability, even if they arguably can't quite pull the whole Civil War song cycle thing off entirely. But there are some welcome reminders of Poco's country-rock past on this, Cotton's "Sometimes (We Are All We Got)" is a totally underrated classic and - despite the band already planning their exit from ABC Records - here they sound as if they are trying. And, well, they mostly succeed. 

6. A Good Feelin' To Know (1972)

I'm pretty sure that a lot of Poco fans would find this ranking way too low for what is generally considered one of the best - if not the best - of the Furay era. But I have some...reservations. A Good Feelin' To Know was the band's overreaction to what they felt was a limited and limiting production courtesy of Steve Cropper on predecessor From The Inside, so they veer into a very slick production. Also, seemingly every songwriter in the band strives for epics, not always with entirely convincing results. Cotton's "Ride The Country" is a nice first stab at the western epic he always tried to write, only slightly let down by his pressed nasal faux-Neil Young vocal, while Schmit's "Restrain" gets a bit on my nerves and Furay's "Sweet Lovin'" can never quite live up to its grandiose gospel opening. The shortest song here, a cover of Stephen Stills' "Go And Say Goodbye" with split lead vocals, is also one of the best, because it isn't overwrought, just a great cover of a very good song. And then there's the title track, the album that should've made Poco and finally broke them. When the album barely made the Top 75 and the single failed to find commercial success, Richie Furay decided that Poco were probably never going to make it commercially and started to look elsewhere.

5. Rose Of Cimarron (1976)

An ultra-underrated album from the tail end of the Cotton-Young-Scmit-Grantham era. After predecessor Head Over Heels flirted a lot with being a pop record with country leanings, Rose Of Cimarron redresses the balance towards country, even if production and playing stays pop-adjacent, adding to the questions of why the original(ish) Poco never did break through. Young's title track has become a genre-classic, and tracks like the country medley "Company's Comin'/Slowpoke", "Too Many Nights Too Long", "Starin' At The Sky" and "P.N.S. (When You Come Around)" should have been. Great album, top to bottom. 

4. From The Inside (1971)

Again, I talked quite a bit about this album in the write-up of its One Buck Records companion album From The Outside In, so I'll keep it short here. Unloved dry soundscape by Steve Cropper and everything, this is a great album, no matter how many doubts the band has. The songs are what counts: Other than the long, slow and way too long remake of "Do You Feel It, Too?", every song here is good, and some are great, like Richie Furay's "Just For Me And You".  

3. Head Over Heels (1975)

For their debut with ABC Records, Poco brought out a twelve-song set full of short, crisp, beautifully arranged songs, mostly straddling the line between country and pop. Which, incidentally, is the sweet spot for this band. This is what they do best. Highlights are too numerous to mention, although it's again a  mystery why a song like Timothy Schmit's "Keeop On Tryin'" didn't become a hit. Story of their career...

2. Cantamos (1974)

Yes, this also got resequenced around here, and yes, I said a bunch of stuff, so no need for many more words. The songs are a batch of winners with only one so-so number (Young's ) in the middle. Honestly, this is a 100% effort for what could have been a record contract filler, as this turned out to be the last record for Epic. It also has two of my absolute favorite Poco songs of all time, Cotton's "Western Waterloo" and Schmit's "Whatever Happened To Your Smile". Just great stuff, but not quite as great as... 

1. Crazy Eyes (1973)

'Nuff said. 

(Several times...)

And here it is, folks, the end of this first installment of Discography, which hopefully puts you in the mood to give a listen or relisten to the best the band had to offer, which I maintain, is some of the best of its genre. 

And since all of you faithful deserve a little something for reading along, today's musical bonus is The Last Roundup, the live album that was prepped for release as Poco's thirtienth album in 1978, but was shelved when Schmit was recruited by the Eagles and left the band, with the band going on an indefinite hiatus, that finally wasn't very indefinite...It's a really nice album that gives you tons of highlights from the band's mid-to-late 70s output. It also has Richie Furay guest on two numbers (though weirdly he takes lead on "Magnolia", instead of one of his own numbers). 

So, Poconuts, and Poconuts in training, enjoy some of the finest country-rock of its time, with the albums listed above or The Last Roundup, with the link for once part of the write-up...