I renew my request for the other two and add requests for: Fats Domino

I would replace Operator with Brown Eyed Woman, Cassidy with Friend of the Devil, and either Jack a roe or Scarlet Begonias with And We Bid You Good Night or Casey Jones.

Damn good tenner - hard band to do, and I like that you do Dead songs and not covers.

Well, part of my "instructions" for the tenner was to not put the most obvi songs which pretty well eliminates Brown Eyed, Casey Jones, and Friend (good songs mind you but they probly wouldnt have been my choices anyway); I was also trying to hit a few different eras so it wasn't TOO heavy on the Workingmans/Am Beaut material.

I love "Operator"-- it has such a simple, straight up Americana sound ("long as she been doin it right") plus you gotta have some Pigpen in there for sure.

There are actually two covers: "Jack A Roe" is a traditional. There are a million different versions of this song, slow and fast, and my favorite is buried on a cassette tape somewhere. This version is what you might call the coked out version--waay fast. The other cover is "Me and My Uncle" written by Papa John Phillips though I don't believe ever performed by him.

Pearl Jam

1. Hail Hail
2. Whipping
3. Brain of J.
4. Life Wasted
5. Breakerfall
6. State of Love and Trust
7. Grievance
8. Habit
9. Ghost
10. Mankind

Nice job picking 3 tracks from No Code and "Grievance". Only track on there I have a problem with is "Breakerfall".

who else plays Me and My Uncle?

John often used to tell the story behind "Me And My Uncle." Years ago he began receiving publishing royalties from a song on a Judy Collins record with which he was unfamiliar. It was titled "Me And My Uncle." He called Judy to let her know of the mistake because he hadn't written any such song. She laughed and told him that about a year before, in Arizona after one of her concerts, they had a 'Tequila' night back at the hotel with Stephen Stills, Neil Young and a few others. They were running a blank cassette and John proceeded to write "Me And My Uncle" on the spot. The next day, John woke up to the tequila sunrise with no recollection of the songwriting incident. Judy kept the cassette from that evening and then, without informing John, recorded the song for her own record. Over the years the song was recorded by several people, and eventually became a standard of the Grateful Dead. John used to joke that, little by little, with each royalty check, the memory of writing the song would come back to him.

Judy Collins.

In the early '70s, the songwriting partnership of Pete Atkin and Clive James was held in high esteem by the British music press, yet commercial success proved much more elusive. Their unique attempt to fuse the discipline and craftsmanship of Tin Pan Alley with the self-expression of rock, while refusing to accept any limitation on what constituted appropriate subject matter for lyrics, inevitably set them on a collision course with their record companies' marketing departments. An Atkin-James album could embrace a brief encounter in a railway carriage, the Vietnam War, and the lot of an aging session musician, while James' points of reference took in the full panoply of art, cinema, literature, and poetry, sometimes leaving his work open to accusations of being wordy and pretentious. In its own way, Atkin's music was just as erudite, drawing on every form of popular music from show tunes through folk, jazz, and rock. Both words and music, then, were no match for the blistering anti-elitism of punk when it arrived, and after six albums the partnership succumbed before the irresistible union of record company indifference and the Clash.

Bob Dylan - The 1980s

1. Trouble
2. Sally Sue Brown
3. License to Kill
4. Political World
5. They Killed Him
6. Jokerman
7. In the Summertime
8. Man in the Long Black Coat
9. Dead Man, Dead Man
10. Brownsville Girl

Gillian Welch



01. Caleb Meyer
02. Revelator
03. Tear My Stillhouse Down
04. Orphan Girl
05. Honey Now
06. April The 14th
07. My First Lover
08. My Morphine
09. Rock Of Ages
10. I Dreamed A Highway

RIYL : singer/songwriter/haunting americana/bluegrass/close harmonies & unconventional guitar work from her musical partner, David Rawlings.

The Volebeats

[img][366:500]http://i16.photobucket.com/albums/b33/mcaputo/Sony610Red.jpg[/img]

1 Somewhere In My Heart
2 Radio Flyer
3 Lucky One
4 Sky And The Ocean
5 I Had To Tell You
6 Like Her
7 I Tried To Tell You.
8 Knowing Me Knowing You
9 Voles In N.Y.C
10 It's Alright

RIYL - Detroit based jangle/country/70s AM pop

Excellent. Would've requested had I thought of it.

Nice work, M-Cap. Good call on the Abba cover.

The Gun Club

[img][240:304]http://blog.sailorjerry.com/images/display/424blog_gun_club.jpg[/img]

1. Sex Beat
2. She's Like Heroin To Me
3. The Fire Of Love
4. Bad Indian
5. Mother of Earth
6. My Dreams
7. Bad America
8. My Man's Gone Now
9. Lupita Screams
10. Port of Souls



RIYL: mixing Americana in a stew of bad drugs and black velvet paintings, crossing the Cramps with Nick Cave and a caterwauling alley cat

let me know how this "new" mediafire is working - seems overly complicated to me.

That was the year that the New York Times' influential music critic Robert Palmer named KILL TUNES as one of his Top 10 releases, and around the time when Tom Waits declared in the British music press that the Pogues and the Leaving Trains were his two favorite new bands. Waits even namedropped Falling James in the first line of the shaggy-dog yarn "Gun Street Girl," from his "Rain Dogs" album, so James jokingly responded by singing "waiting for Tom Waits to finish the sequel" during "How Can I Explode?" on the Trains' next album, FUCK. Produced by former Last keyboardist Vitus Matare and with a title that predictably stirred up censorship controversies and retail bans.

Guided by magic-man producer Earle Mankey (the Weirdos, Runaways, Concrete Blonde), the Trains recorded two diametrically opposed albums in the late '80s: the short-&-sweet, hard-&-fast punk barrage TRANSPORTATIONAL D. VICES, with guitarist Sam Merrick (Bobbi Brat, the Nymphs); and the languorously obsessive collection of interwoven doom-ridden love songs, SLEEPING UNDERWATER SURVIVORS, recorded with Nymphs guitarist Bobby Belltower during Falling James' 1989-1990 stormy marriage to pre-fame Courtney Love (before everything fell apart, James also produced Hole's debut single).

Eventually, Sam Merrick went back to Idaho, Bobby Belltower moved to Manhattan, and James found a new partner in crime, Chris "Whitey" Sims, a tireless New Orleans party animal, provocateur and prolific writer, who persuaded James to write remorselessly about the absurdities in the world around him instead of just dwelling on old girlfriends. Their often-tasteless satires ("Bob Hope," "You Don't Need a Doctor," "Women Are Evil," "Fuck You, God!"), from the LOSER ILLUSION, PART ZERO E.P. and THE LUMP IN MY FOREHEAD CD, either delighted or alienated old Trains fans. Some felt betrayed that Falling James was now dressing in drag full-time, even offstage. Falling James' ongoing, quixotic anarchist campaigns for U.S. president, meanwhile, started to get a surprising amount of mainstream media attention.

Whitey's onstage nudity and jock-baiting instigated frequent onstage riots, arrests, pulled plugs and daily police harassment for over several years until, inevitably, everyone cracked. Guitarist Aaron "Mo-Ron" Donovan moved to Mexico to study art, and Whitey escaped to San Francisco, where he edited one issue of the sacred-cow slaughterhouse, BEHAVE, before dropping out of sight.