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1. Bobbi Blake: I LIKE YELLOW THINGS (Tiel Faulkner; from MSR 2539)<br />
2. Jim Lea: THE DOING OF OUR THING (Gilbert Prescott; from Tropical 170)<br />
3. Dick Kent: TIMES ABOUT (Thomas Guygax, Sr.; from MSR 864)<br />
4. Roger Bonnette: THE HELL WITH YOU (home version) (Jimmy Lewis; from MSR 2475)<br />
5. S<strong>he</strong>lley Stuart & T<strong>he</strong> Five Stars: VAMPIRE HUSBAND (Bernadette Barnett & Lew Tob<strong>in</strong>;<br />
from Sterl<strong>in</strong>g 591)<br />
6. Cara Stewart: SONG OF THE BURMESE LAND (L. Hazlewood; from Air 5077)<br />
7. Ron Davis: IT’S A MYSTERY CALLED LOVE (Max<strong>in</strong>e Lee; from MSR LP 203)<br />
8. Gene Marshall: EVELYN CHRISTMAS (James Wilson, Jr.; from Preview 1774)<br />
9. Buddy Raye: FEELING BESIDE MYSELF (Conor P. Kelly; from Sunrise LP HS-104)<br />
10. Kay Weaver: WOMAN’S LIBERATION (Helen E. Osborne; from Columb<strong>in</strong>e LP CRH-35)<br />
11. Gene Marshall: SHAKE YOUR GOOD STUFF (Herman Earl; from Preview 3059)<br />
12. Norman Burns: STAY WHERE YOU ARE (Ne<strong>he</strong>miah Taylor & Lew Tob<strong>in</strong>; from Sterl<strong>in</strong>g 404)<br />
13. Dick Kent: OCTOPUS WOMAN, PLEASE LET ME GO (Randle R. Wilson; from MSR 2622)<br />
14. artist uncredited: MY DADDY HE DIED IN 1969 (Coyte F. Brackeen; from Halmark 750852)<br />
15. Gene Marshall: GREEN FINGERNAILS (Charlotte Strathman; from Preview 2516)<br />
16. T<strong>he</strong> Jerrymanders (vocal by William H. Arpaia): LISTEN MISTER HAT<br />
(William H. Arpaia; from Vandalia 106)<br />
17. Ralph Lowe: MY SILENT THOUGHTS (Virg<strong>in</strong>ia Bailey; from Columb<strong>in</strong>e LP CRH-43)<br />
18. T<strong>he</strong> Downtowners: I LOVE LOVELY CHINESE GAL (Al Perry; from Preview 1318)<br />
19. Betty Bond: TILL DEATH DO US PART (Sonia Oliver; from Tropical LP 220)<br />
20. Bill Joy: THE MESSER ROUND (Eddie Bonham, Jr.; from MSR 2772)<br />
21. Dick Kent: GRETCHEN’S NEW DISH (C<strong>he</strong>ster T. F<strong>in</strong>ley; from MSR 2413)<br />
22. artist uncredited: MY HAMBURGER BABY (Ezra L. Work; from Halmark 750781)<br />
23. Gene Marshall: PRAYER FOR JAMEY (Havelyn S<strong>in</strong>g; from Preview 1777)<br />
24. Milford Perk<strong>in</strong>s: JERRY THE BUTCHER MAN (Cor<strong>in</strong>da Marques; from Preview LP 240)<br />
25. Dick Kent: THE SAILOR’S ANTHEM (Wesley Earl Falterman; from MSR 2504)<br />
26. Rodd Keith: MY TWIN AND I (Phyllis Varisco; from MSR 197)<br />
27. Bobbi Blake: GOOD (Thomas J. Guygax, Sr.; from MSR 2289)<br />
28. Gene Marshall: SMOKE IT–THE POT (Juanita Norberg; from Preview 2742)<br />
29. Rodd & T<strong>he</strong> Librettos: SOMETHING IN THE NIGHT (Walter Cutts; from MSR LP 206)<br />
Also <strong>in</strong> t<strong>he</strong><br />
MSR Madness series:<br />
THE BEAT OF<br />
THE TRAPS<br />
THE MAKERS OF<br />
SMOOTH MUSIC<br />
THE HUMAN<br />
BREAKDOWN<br />
OF ABSURDITY<br />
I’M JUST THE<br />
OTHER WOMAN<br />
RAT A TAT TAT,<br />
AMERICA<br />
pg. 8 pg. 1
MY DADDY HE DIED IN <strong>1969.</strong> T<strong>he</strong> overarch<strong>in</strong>g<br />
s<strong>in</strong>cerity of many song-poem lyrics can<br />
sometimes come up and snap you right <strong>in</strong><br />
t<strong>he</strong> face.<br />
GREEN FINGERNAILS. Your guess is as good as<br />
m<strong>in</strong>e. This and our ot<strong>he</strong>r color-t<strong>he</strong>med song,<br />
“I Like Yellow Th<strong>in</strong>gs,” are f<strong>in</strong>ds of collector<br />
Brian Gordon.<br />
LISTEN MISTER HAT. William Howard Arpaia’s<br />
motivational rant is not technically a songpoem,<br />
s<strong>in</strong>ce writer and performer <strong>in</strong> this case<br />
are t<strong>he</strong> same person. But Arpaia was forever<br />
blurr<strong>in</strong>g t<strong>he</strong> boundaries between vanity and<br />
song-poem anyway, and this one is just too<br />
strong to conta<strong>in</strong> any longer.<br />
MY SILENT THOUGHTS. Übercrooner Ralph<br />
Lowe returns with a meditative number from<br />
t<strong>he</strong> pen of first-timer Virg<strong>in</strong>ia Bailey.<br />
I LOVE LOVELY CHINESE GAL.<br />
From Rodd Keith’s personal<br />
collection of his own records,<br />
t<strong>he</strong> same batch that<br />
gave rise to Ellery Eskel<strong>in</strong>’s<br />
all-Rodd compilation I Died<br />
Today. This number is so<br />
atmosp<strong>he</strong>ric you can<br />
COURTESY DAN CLOWES<br />
practically smell t<strong>he</strong> opium waft<strong>in</strong>g through<br />
t<strong>he</strong> den.<br />
TILL DEATH DO US PART.<br />
Taken from t<strong>he</strong> album<br />
Betty Bond (❿) S<strong>in</strong>gs<br />
Pop, which, like “T<strong>he</strong><br />
Do<strong>in</strong>g Of Our Th<strong>in</strong>g,” is<br />
from Bob Quimby’s Tropical<br />
label. Not to cast aspersions<br />
on t<strong>he</strong> songpoet,<br />
but an anonymous<br />
correspondent terms this harrow<strong>in</strong>g depiction<br />
of <strong>he</strong>ro<strong>in</strong> use “starkly accurate.”<br />
THE MESSER ROUND. T<strong>he</strong> year 1979, as represented<br />
<strong>in</strong> all its song-poem glory. T<strong>he</strong> elasticthroated<br />
Bill Joy was MSR’s resident disco<br />
crooner.<br />
GRETCHEN’S NEW DISH. C<strong>he</strong>ster T. F<strong>in</strong>ley apparently<br />
did not approve of t<strong>he</strong> way Dick Kent,<br />
<strong>in</strong> his spirited, German-<strong>in</strong>flected delivery, got<br />
a little too spirited on t<strong>he</strong> f<strong>in</strong>al words of t<strong>he</strong><br />
l<strong>in</strong>e “Gretc<strong>he</strong>n full of doo-doo.” Bobbi Blake<br />
was called <strong>in</strong> for t<strong>he</strong> redo (do), which appears<br />
on a previous entry <strong>in</strong> t<strong>he</strong> MSR Madness series,<br />
T<strong>he</strong> Human Breakdown Of Absurdity.<br />
MY HAMBURGER BABY. T<strong>he</strong> Halmark label<br />
rarely bot<strong>he</strong>red to credit t<strong>he</strong>ir vocalists by<br />
But th<strong>in</strong>k about what this ratio of bad:good must have meant to t<strong>he</strong> studio cats hired<br />
to make t<strong>he</strong> average-Joe lyrics of t<strong>he</strong> song-poem form s<strong>in</strong>g and sw<strong>in</strong>g. Perhaps <strong>in</strong><br />
our own way we can all relate to this, but imag<strong>in</strong>e if 90% of your workday was spent<br />
push<strong>in</strong>g burdensome bon-bon sentiments about lost loves, lost pets and dy<strong>in</strong>g children<br />
up t<strong>he</strong> nice-music hill, over and over aga<strong>in</strong>. We can rhapsodize till t<strong>he</strong> cows<br />
turn blue about how t<strong>he</strong> song-poem process democratizes t<strong>he</strong> production of music<br />
and gives melodic voice to t<strong>he</strong> disenfranchised and t<strong>he</strong> eternally hopeful, but t<strong>he</strong><br />
reality’s not quite that romantic. Far more commonly, life <strong>in</strong> t<strong>he</strong> song-poem salt<br />
m<strong>in</strong>es consisted of try<strong>in</strong>g to f<strong>org</strong>e someth<strong>in</strong>g like music out of pedestrian sandwichbag<br />
jott<strong>in</strong>gs.<br />
Imag<strong>in</strong>e how exalted t<strong>he</strong> assemblers and welders of t<strong>he</strong>se music factories must have<br />
felt, t<strong>he</strong>n, w<strong>he</strong>n t<strong>he</strong>y got one t<strong>he</strong>y could s<strong>in</strong>k t<strong>he</strong>ir teeth <strong>in</strong>to, one of those rare submissions<br />
that showed even a brief glimmer of<br />
funk or <strong>in</strong>spiration. That premise doesn’t expla<strong>in</strong><br />
every song compiled <strong>in</strong> this series, but it<br />
does go a long way toward understand<strong>in</strong>g why<br />
t<strong>he</strong> one-<strong>in</strong>-ten stands out <strong>in</strong> such clear relief.<br />
So, our pledge to you: MSR Madness will always<br />
ma<strong>in</strong>ta<strong>in</strong> only t<strong>he</strong> strictest standards of songpoem<br />
goodness, and will rema<strong>in</strong> your safe haven<br />
amidst a sea of “<strong>My</strong> Dream”s, “I’m Hang<strong>in</strong>g<br />
On”s, and “T<strong>he</strong>re’s Go<strong>in</strong>g To Be Heartac<strong>he</strong>s<br />
Tonight”s.<br />
SONG-POET WILLIAM HOWARD ARPAIA<br />
pg. 6 pg. 3
I LIKE YELLOW<br />
THINGS. Perhaps<br />
<strong>in</strong>spired by Tom T.<br />
Hall’s “I Love,” veteran<br />
song-poet Tiel<br />
Faulkner (➛) contributes<br />
our title tune,<br />
a sweet number that is<br />
t<strong>he</strong> musical equivalent of spr<strong>in</strong>gtime itself.<br />
THE DOING OF OUR THING. Gilbert Prescott’s<br />
blissful vision of t<strong>he</strong> hippie-led nation of<br />
Oilyville, a libert<strong>in</strong>e and libertarian utopia<br />
run by a council of gurus. T<strong>he</strong>ir only mandate<br />
is to make sure “of love each has a<br />
share.” W<strong>he</strong>re do we sign up?<br />
TIMES ABOUT. And t<strong>he</strong> word is … Tiger!<br />
Anot<strong>he</strong>r deliriously <strong>in</strong>scrutable entry from<br />
t<strong>he</strong> House of Guygax. To attempt to parse t<strong>he</strong><br />
mean<strong>in</strong>g of a Guygax song is to miss its<br />
mean<strong>in</strong>g altoget<strong>he</strong>r.<br />
THE HELL WITH YOU (home version). A taut little<br />
kiss-off number sung by t<strong>he</strong> unknown Roger<br />
Bonnette. This might be an example of a<br />
record<strong>in</strong>g sent <strong>in</strong> by a song-poet and t<strong>he</strong>n<br />
given t<strong>he</strong> MSR overdub treatment. T<strong>he</strong> ot<strong>he</strong>r<br />
side, t<strong>he</strong> “radio version,” sounds as if it uses<br />
t<strong>he</strong> same basic tracks, but t<strong>he</strong>y seem to have<br />
been sped up, and t<strong>he</strong> l<strong>in</strong>e “F<strong>in</strong>d somebody<br />
else that you can screw” has been bowdlerized<br />
to “F<strong>in</strong>d somebody else, do-doobie-do.”<br />
VAMPIRE HUSBAND. Sterl<strong>in</strong>g was a Bostonbased<br />
label known primarily for its male vocalists<br />
Norm Burns and Gary Roberts. But S<strong>he</strong>lley<br />
Stuart, wife of Sterl<strong>in</strong>g’s founder Lew Tob<strong>in</strong>,<br />
also c<strong>he</strong>cked <strong>in</strong> with a number of topl<strong>in</strong>ers,<br />
<strong>in</strong>clud<strong>in</strong>g this well-written tale of div<strong>in</strong>e love<br />
borne of t<strong>he</strong> crypt. That’s most likely Tob<strong>in</strong><br />
himself t<strong>in</strong>kl<strong>in</strong>g t<strong>he</strong> catchy piano l<strong>in</strong>e.<br />
SONG OF THE BURMESE LAND. T<strong>he</strong> ultrasl<strong>in</strong>ky<br />
Cara Stewart, t<strong>he</strong> lone distaff vocalist of Lee<br />
Hudson’s reverb-laden Northridge, California<br />
hit factory, snakes <strong>he</strong>r<br />
warm, <strong>in</strong>vit<strong>in</strong>g larynx<br />
around L. (not Lee) Hazlewood’s<br />
enchant<strong>in</strong>g<br />
protest lyric denouc<strong>in</strong>g<br />
Burma’s excessive afterhour<br />
noise. “Doon doon<br />
doon, dang dang dang”<br />
— I couldn’t have said it<br />
better myself.<br />
IT’S A MYSTERY CALLED LOVE. In t<strong>he</strong> guise of<br />
“Ron Davis,” Rodd Keith hauls up anot<strong>he</strong>r<br />
bucket from his bottomless well of dazzl<strong>in</strong>g<br />
popcraft arc<strong>he</strong>types. This one is short on<br />
weirdness and long on what Rodd was best at:<br />
structure, melody and harmony s<strong>in</strong>g<strong>in</strong>g. T<strong>he</strong><br />
drummer seems to be telegraph<strong>in</strong>g his tim<strong>in</strong>g<br />
<strong>in</strong> (perhaps from Burma), but Rodd refuses to<br />
be thrown.<br />
EVELYN CHRISTMAS. At long last, a chance to<br />
expose t<strong>he</strong> secret of James Wilson, Jr., t<strong>he</strong><br />
Chicago-based rival to Thomas Guygax, Sr. as<br />
World’s Greatest Song-Poet. Every bit as surreal<br />
yet far more prolific, we are thrilled to f<strong>in</strong>ally<br />
put Wilson on t<strong>he</strong> map with this lovely<br />
number about “Pastels<br />
from Alaska / Imported<br />
as t<strong>he</strong> igloo <strong>in</strong> review.”<br />
At last report Wilson was<br />
still at it, submitt<strong>in</strong>g<br />
multipage song-poem<br />
manifestos on a weekly<br />
basis.<br />
FEELING BESIDE MYSELF.<br />
Innumerable listens fail<br />
to reveal w<strong>he</strong>t<strong>he</strong>r this<br />
first-person account of<br />
pg. 4 pg. 5<br />
schizophrenia was written as an <strong>in</strong>tellectual<br />
exercise, or from a more lived-<strong>in</strong> po<strong>in</strong>t of view.<br />
WOMAN’S LIBERATION. An<br />
ironic match<strong>in</strong>g of material<br />
and performer. Kay Weaver<br />
(❿), an award-w<strong>in</strong>n<strong>in</strong>g fem<strong>in</strong>ist<br />
filmmaker <strong>in</strong> <strong>he</strong>r life<br />
outside of song-poem music,<br />
is <strong>he</strong>re forced to declare, “But one th<strong>in</strong>g I<br />
don’t understand / Is woman’s liberation.”<br />
It’s refresh<strong>in</strong>g to see t<strong>he</strong> song-poem game for<br />
once backfir<strong>in</strong>g upon one of its players.<br />
SHAKE YOUR GOOD STUFF. Gene Marshall delivers<br />
a typically authoritative read<strong>in</strong>g of<br />
Herman Earl’s once-fashionable lyric. This is<br />
t<strong>he</strong> flip of “All You Need Is A Fertile M<strong>in</strong>d,”<br />
which we visited <strong>in</strong> a previous <strong>in</strong>stallment.<br />
STAY WHERE YOU ARE. T<strong>he</strong> aforementioned<br />
Norm Burns nails a delightfully orthogonal<br />
arrangement.<br />
OCTOPUS WOMAN, PLEASE LET ME GO. A tale<br />
that turns Humanoids From T<strong>he</strong> Deep on its<br />
tentacles. With its flip “T<strong>he</strong> Fly<strong>in</strong>g Horse Of<br />
Thunder,” this discovery of <strong>WFMU</strong>’s Irw<strong>in</strong><br />
Chusid is anot<strong>he</strong>r double A-side w<strong>in</strong>ner. Both<br />
were written by Randle R. Wilson.
THE DOING OF OUR THING or THE ONE-IN-TEN<br />
by Phil Milste<strong>in</strong><br />
WELCOME BACK, STURDY LISTENER, for anot<strong>he</strong>r round of t<strong>he</strong> Greatest Hits of a<br />
most debauc<strong>he</strong>d musical form.<br />
Now’s as good a time as any to clear up a common misconception about this songpoem<br />
jazz. Please realize that t<strong>he</strong> greatest bulk of t<strong>he</strong> records that turn up are all but<br />
unlistenable — witless, tired, dreary — while t<strong>he</strong> really good ones amount to but a<br />
small proportion of t<strong>he</strong> all of t<strong>he</strong>m. Accord<strong>in</strong>g to my gut estimation, less than 10%<br />
of t<strong>he</strong> records made via t<strong>he</strong> “set your poems to music” assembly l<strong>in</strong>e are worth even<br />
so much as a second listen, and but a mere quarter of that pile are strong enough to<br />
be deemed “keepers.”<br />
T<strong>he</strong> good news is that t<strong>he</strong> stockpile of available song-poem records has grown so<br />
vast that t<strong>he</strong> really hot ones still amount to such a number that we could conceivably<br />
run this series <strong>in</strong>to t<strong>he</strong> double digits before gett<strong>in</strong>g anyw<strong>he</strong>re<br />
close to scrap<strong>in</strong>g metal.<br />
I just didn’t want you to have to labor anot<strong>he</strong>r day under<br />
t<strong>he</strong> mis<strong>in</strong>formation that all song-poem records were as<br />
swell as t<strong>he</strong>se ’uns. But I am honored to serve as your<br />
C<strong>he</strong>ckpo<strong>in</strong>t Charlie, guard<strong>in</strong>g t<strong>he</strong> gates of goodness,<br />
martyr<strong>in</strong>g myself across t<strong>he</strong> swords of song-poem<br />
drek <strong>in</strong> t<strong>he</strong> noble quest for high weirdness.<br />
name, substitut<strong>in</strong>g <strong>in</strong>stead t<strong>he</strong> song-poet’s address.<br />
Halmark even had trouble spell<strong>in</strong>g t<strong>he</strong><br />
name of t<strong>he</strong>ir own company, sometimes add<strong>in</strong>g<br />
an extra “l” for no apparent reason.<br />
PRAYER FOR JAMEY. Just w<strong>he</strong>n you expect<br />
Havelyn S<strong>in</strong>g’s lyric to zig, it zags. Based on a<br />
true story.<br />
JERRY THE BUTCHER MAN. Only <strong>in</strong> t<strong>he</strong> songpoem<br />
genre could you <strong>he</strong>ar anyth<strong>in</strong>g so<br />
<strong>in</strong>credible as a poignant song about a meatcutter.<br />
T<strong>he</strong>n aga<strong>in</strong>, vocalist Milford Perk<strong>in</strong>s<br />
could make t<strong>he</strong> phone book sound poignant.<br />
Don’t hold me to this, but I’m pretty sure<br />
that’s Ge<strong>org</strong>e Liberace himself bounc<strong>in</strong>g t<strong>he</strong><br />
bum fiddle note.<br />
THE SAILOR’S ANTHEM. Both this elegy to<br />
Davy Jones’s locker and its also-excellent flip,<br />
“Elvis T<strong>he</strong> K<strong>in</strong>g,” were written by Wesley Earl<br />
Falterman.<br />
MY TWIN AND I. I get a sense of someth<strong>in</strong>g<br />
very real <strong>in</strong> Phyllis Varisco’s lyric, which happens<br />
far more often <strong>in</strong> song-poem music than<br />
it does with, say, Billy Joel.<br />
GOOD. And t<strong>he</strong><br />
moral? “While pert,<br />
to always ma<strong>in</strong>ta<strong>in</strong><br />
t<strong>he</strong> balance of<br />
dears,” of course.<br />
Go, Guygax (❿), go.<br />
SMOKE IT – THE POT.<br />
Wrapp<strong>in</strong>g up a song<br />
that stretc<strong>he</strong>s furiously<br />
to make its<br />
rhymes, Juanita Norberg<br />
stretc<strong>he</strong>s to avoid one. A nice f<strong>in</strong>d from<br />
t<strong>he</strong> collection of Bob Purse.<br />
SOMETHING IN THE NIGHT. Maury S. Rosen —<br />
t<strong>he</strong> MSR of MSR Records — hated hav<strong>in</strong>g to<br />
rerecord a song for a dissatisfied customer,<br />
but a contract is a contract. T<strong>he</strong>re’s noth<strong>in</strong>g<br />
overtly wrong with t<strong>he</strong> first version of this<br />
ghost song, found on MSR LP 206 (Terry &<br />
Rodd & T<strong>he</strong> Librettos), but Rodd’s remake,<br />
three albums later (Someth<strong>in</strong>g For Everyone),<br />
is a triumph. Perhaps <strong>he</strong> was haunted by<br />
t<strong>he</strong> mediocrity of t<strong>he</strong> first version, and redid<br />
it of his own <strong>in</strong>itiative.<br />
Producer: PHIL MILSTEIN | Cover art: PETER BAGGE | Rerecord<strong>in</strong>g eng<strong>in</strong>eer: ERIK LINDGREN | Disc art: CHARLES<br />
BURNS | Digital master<strong>in</strong>g: ALAN LOWE ARCHIVING | THANKS TO: Tom Ardol<strong>in</strong>o, Peter Bagge, Dave Brown,<br />
Irw<strong>in</strong> Chusid, Dan Clowes, Byron Coley, Michael Cudahy, Nicholas Cudahy, Est<strong>he</strong>r Curry, Lili Dwight,<br />
Ellery Eskel<strong>in</strong>, Brian Gordon, David Greenberger, Erik L<strong>in</strong>dgren, Bob Purse, Wayne Rogers and Jim Shaw.<br />
pg. 2 pg. 7
MSR MADNESS, VOL. 5<br />
1. Bobbi Blake: I LIKE YELLOW THINGS<br />
2. Jim Lea: THE DOING OF OUR THING<br />
3. Dick Kent: TIMES ABOUT<br />
4. Roger Bonnette: THE HELL WITH YOU (home version)<br />
5. S<strong>he</strong>lley Stuart & T<strong>he</strong> Five Stars: VAMPIRE HUSBAND<br />
6. Cara Stewart: SONG OF THE BURMESE LAND<br />
7. Ron Davis: IT’S A MYSTERY CALLED LOVE<br />
8. Gene Marshall: EVELYN CHRISTMAS<br />
9. Buddy Raye: FEELING BESIDE MYSELF<br />
10. Kay Weaver: WOMAN’S LIBERATION<br />
11. Gene Marshall: SHAKE YOUR GOOD STUFF<br />
12. Norman Burns: STAY WHERE YOU ARE<br />
13. Dick Kent: OCTOPUS WOMAN, PLEASE LET ME GO<br />
14. artist uncredited: MY DADDY HE DIED IN 1969<br />
15. Gene Marshall: GREEN FINGERNAILS<br />
16. T<strong>he</strong> Jerrymanders: LISTEN MISTER HAT<br />
17. Ralph Lowe: MY SILENT THOUGHTS<br />
18. T<strong>he</strong> Downtowners: I LOVE LOVELY CHINESE GAL<br />
19. Betty Bond: TILL DEATH DO US PART<br />
20. Bill Joy: THE MESSER ROUND<br />
21. Dick Kent: GRETCHEN’S NEW DISH<br />
22. artist uncredited: MY HAMBURGER BABY<br />
23. Gene Marshall: PRAYER FOR JAMEY<br />
24. Milford Perk<strong>in</strong>s: JERRY THE BUTCHER MAN<br />
25. Dick Kent: THE SAILOR’S ANTHEM<br />
26. Rodd Keith: MY TWIN AND I<br />
27. Bobbi Blake: GOOD<br />
28. Gene Marshall: SMOKE IT–THE POT<br />
29. Rodd & T<strong>he</strong> Librettos:<br />
SOMETHING IN THE NIGHT<br />
MSR MADNESS, VOL. 5