Tish Hinojosa Leticia Hinojosa Dec 6, 1955 San Antonio, TX
Genres Country Occupations Singer-songwriter Instruments Vocals, guitar Years active 198x-present Labels MCA/Curb, A&M, Rounder, Valley Entertainment
Her releases explore a wide variety of styles: from the perfect balance of country, folk and latino elements on the award-winning Culture Swing (1992) or the collection of Mexican love ballads and border songs on all-Spanish Frontejas (1995), to the delicate mysticism of Dreaming From The Labyrinth (1996) or the joyful optimism on her bilingual children’s record Cada Niño/Every Child (1996).
Culture Swing September 16, 1992
1 By the Rio Grande Hinojosa 3:36 2 Something in the Rain Hinojosa 5:02 3 Bandera del Sol (Flag of theSun) Hinojosa 3:29 4 Every Word Hinojosa 4:06 5 Louisiana Road Song Hinojosa 3:13 6 Corazón Viajero [Wandering Heart] Hinojosa 3:34 7 Drifter's Wind Pyle 3:08 8 The Window Hinojosa 4:21 9 In the Real West Hinojosa 2:46 10 Chanate, el Vaquero (Chanate, the Cowboy) Hinojosa 3:47 11 San Antonio Romeo Hinojosa 2:44 12 Closer Still Hinojosa 4:00
SOMETHING IN THE RAIN By Tish Hinojosa
Mom and dad have worked the fields, I don't know how many years I'm just a boy but I know how, and go to school when work is slow We have seen our country's road, Bakersfield from Illinois And when troubles come our way, oh yeah, I've seen my daddy pray. There's something wrong with little sister, I hear her cryin' by my side Mama's shaking as she holds her; we try to hold her through the night And mom says close you eyes mijito, dream of someplace far from here Like the pictures in your schoolbooks, someday you can take us there There must be something in the rain I'm not sure what that means Abuelita talks of sins of man, of dust that's in our hands There must be something in the rain well what else could cause this pain Those airplanes cure the plants so things can grow Oh no, it must be something in the rain Little sister's gone away. Mama's workin' long again And me I think I understand about our life about our land Well, talkers talk and dreamers dream; I will find a place between I'm afraid but I believe that we can change these hurting fields Cause there's something in the rain but there's more here in our hands 'Buelita's right about the sins of man who's profits rape the land And the rains are pouring down from the growers to the towns And until we break the killing chains There's something in the rain
In The Night
Runnin', burning' And the lonesome whistle blows In the night, In the night There's a border moon a risin' I can hear that white freight line Lyin', cryin' Like and earth bound eagle yearnin' In the night, In the night Wanna leave the tears that bind me On a rusty rail road sign Chorus: I've been hearing stories I've been sittin' scared By the mood above denying I could ever dare Board a broken angel On a one way track Faster than the devil trailin' Trying to take me back Take it, make it All along a freedom flight In the Night, In the Night No more lyin' dreamin' cryin' wishin' I had wings to fly
Charlie Zahm: "Medley: Rebel Soldier / Dixie Land" Música celta y americana antigua. Barítono.
Guitarras: Charlie's favorite guitars are his Martin D-45, his Larrivée J-10, his Taylor 955 jumbo 12-string and his Taylor W-15. He uses nearly all in concerts, all are "road guitars." Charlie also uses his Taylor 955 12-string whenever he needs the gorgeous rich tone, and it's more playable than any other 12-string Charlie has tried.
Americana 2002
01 - The Good Olde Colony Days 02 - Come All Ye Fair and Tender Ladies 03 - Blacksmith of Brandywine 04 - Blow Ye Winds in the Morning 05 - Poor Wayfaring Stranger 06 - All Quiet Along the Potomac Tonight 07 - Tenting Tonight-Battle Hymn of the Replublic 08 - Roll, Alabama, Roll 09 - Lorene 10 - Cumberland Gap 11 - Sweet Sunny South-Dixie's Land 12 - The Meeting is Over
Best of The Early Years 2009
1. The Minstrel Boy ( 3:57) Thomas Moore* 2. Rise and Follow Charlie (4:24) Mrs. Norman MacLeod 3. Skye Boat Song (6:00) Sir Harold Boulton/ Traditional air 4. Spanish Lady (3:14) Traditional 5. Annie Laurie (3:44) William Douglas 6. Johnny I Hardly Knew Ye (5:54) Traditional 7. Jigs: The Butterfly/Morrison's/Snow on the Windowsill (3:26) Traditional 8. Bells of Rhymney (4:00) Idris Davies/Pete Seeger* 9. Rolling Hills of the Borders (3:52) Matt McGinn 10. Dumbarton's Drums (3:56 ) Traditional 11. Hills of Glenshee (4:15) Traditional 12. Galway Races (3:04) Traditional 13. Wild Mountain Thyme (4:00) Traditional 14. Jigs: Boys of the Town/Langstrom's Pony/The Kesh (2:48) Traditional 15. Roddy McCorley (3:20) Ethna Carbery 16. Reels: The Convenience/The Staten Island (2:42) Traditional 17. Broom o the Cowdenknowes (4:26) Traditional 18. The Parting Glass (3:36) Traditional*
* previously unreleased recording
Charlie Zahm is one of the most popular soloists at Celtic music festivals, Maritime and Early American music events anywhere east of the Mississippi. With a baritone voice some have described as "coming along once in a generation," Charlie has become one of the most successful performers on the Celtic festival circuit, weaving magical moments of Scottish and Irish history for the listener and viewer, with passion for the performance and a chosen repertoire pleasing to all members of the family. A master of the guitar as well, Charlie brings an authentic love and respect for the music he sings—and with dashes of humor and a light in his eyes, he will draw you into the stories of his songs!
LORENA
Writers Rev. Henry DeLafayette Webster & Joseph Philbrick Webster (no relation to each other) written in 1857
Key F
(F) THE YEARS CREEP SLOWLY (F7) BY, LO - (Bb) RE - NA,
THE (C7) SNOW IS ON THE GRASS A - (F) GAIN;
THE SUN'S LOW DOWN THE (F7) SKY, LO - (Bb) RE - NA,
THE (C7) FROST GLEAMS WHERE THE FLOWERS HAVE (F) BEEN.
BUT MY (Dm) HEART BEATS ON AS WARMLY (Am) NOW,
AS (A7) WHEN THE SUMMER DAYS WERE (Dm) NIGH; (C7)
THE (F) SUN CAN NEVER (F7) DIP SO (Bb) LOW,
OR (C7) DOWN AFFECTIONS CLOUDLESS (F) SKY.
A HUNDRED MONTHS HAVE PASSED, LORENA, SINCE LAST I HELD THAT HAND IN MINE, AND FELT THE PULSE BEAT FAST, LORENA, THOUGH MINE BEAT FASTER FAR THAN THINE. A HUNDRED MONTHS, 'TWAS FLOWERY MAY, WHEN UP THE HILLY SLOPE WE CLIMBED, TO WATCH THE DYING OF THE DAY, AND HEAR THE DISTANT CHURCH BELLS CHIME.
WE LOVED EACH OTHER THEN, LORENA, MORE THAN WE EVER DARED TO TELL; AND WHAT WE MIGHT HAVE BEEN, LORENA, HAD BUT OUR LOVINGS PROSPERED WELL. BUT THEN, 'TIS PAST, THE YEARS ARE GONE, I'LL NOT CALL UP THEIR SHADOWY FORMS; I'LL SAY TO THEM, "LOST YEARS, SLEEP ON! SLEEP ON! NOR HEED LIFE'S PELTING STORMS."
THE STORY OF THAT PAST, LORENA, ALAS! I CARE NOT TO REPEAT, THE HOPES THAT COULD NOT LAST, LORENA, THEY LIVED, BUT ONLY LIVED TO CHEAT. I WOULD NOT CAUSE E'EN ONE REGRET TO RANKLE IN YOUR BOSOM NOW; FOR "IF WE TRY, WE MAY FORGET," WERE WORDS OF THINE LONG YEARS AGO.
YES, THESE WERE WORDS OF THINE, LORENA, THEY BURN WITHIN MY MEMORY YET; THEY TOUCHED SOME TENDER CHORDS, LORENA, WHICH THRILL AND TREMBLE WITH REGRET. 'TWAS NOT THY WOMAN'S HEART THAT SPOKE; THY HEART WAS ALWAYS TRUE TO ME: A DUTY, STERN AND PRESSING, BROKE THE TIE WHICH LINKED MY SOUL WITH THEE.
IT MATTERS LITTLE NOW, LORENA, THE PAST IS IN THE ETERNAL PAST; OUR HEADS WILL SOON LIE LOW, LORENA, LIFE'S TIDE IS EBBING OUT SO FAST. THERE IS A FUTURE! O, THANK GOD! OF LIFE THIS IS SO SMALL A PART! 'TIS DUST TO DUST BENEATH THE SOD; BUT THERE, UP THERE, 'TIS HEART TO HEART.
Words by Rev. Henry DeLafayette Webster, music by Joseph Philbrick Webster (no relation to each other). Written in 1857 This is a pre civil war song which achieved wide popularity during the conflict. For some reason, the song became a particular favorite of the Confederancy and, in time, came to be identified with the Southern cause. Hundreds of Southern girls were named for the song's heroine, while several pioneer settlements and even a steamship proudly bore the name. One Confederate veteran claimed to have "heard it more during the war than any other song."
J.P. Webster, creator of the melody, was a collaborator of S. Fillmore Bennett, with whom he wrote several Civil War songs, including "The Irish Volunteer" and "The Negro Emancipation Song." Their best-known work, however, was one of the most popular hymns of all time, "Sweet By and By," 1868.
J.P. Webster also wrote, "I'll Twine 'Mid the Ringlets" 1860, which became, "Wildwood Flower."
The Rebel Soldier (Southern Appalachian folk song) by Anonymous
Oh, Polly! Oh, Polly! It's for your sake alone, I left my dear old father, my country and my home, I left my dear old mother to weep and to mourn - I am a Rebel Soldier and far from my home!
It's grape-shot and muskets and the cannon lumber loud, There's many a mangled body, with dew for it's shroud, There's many a mangled body left on the field's alone - I am a Rebel Soldier and far from my home!
You'll drink your fine brandy, and I will drink my wine, You can drink to your true love, and I will drink to mine, You can drink to your true love and I'll lament and mourn - I am a Rebel Soldier and far from my home!
I'll eat when I'm hungry, I'll drink when I'm dry, If the Yankees don't kill me, I'll live until I die, If the Yankees don't kill me and cause me to mourn - I am a Rebel Soldier and far from my home!
I'll build me a castle on some green mountain high, So, I can see Polly as she comes passing by, So, I can see Polly and help her to mourn - I am a Rebel Soldier and far from my home! I am a Rebel Soldier and far from my home!
Terry Cox: Drums, glockenspiel, vocals Bert Jansch: Guitar, vocals Jacqui McShee: Vocals John Renbourn: Guitar, vocals Danny Thompson: Double bass
Live album
"Market Song" (Pentangle) – 4:23 "No More My Lord" (Traditional) – 4:05 "Turn Your Money Green" (Furry Lewis) – 2:59 "Haitian Fight Song" (Charles Mingus) – 3:52 "A Woman Like You" (Jansch) – 4:06 "Goodbye Pork Pie Hat" (Charles Mingus) – 3:48 "Three Dances" – 4:57 "Brentzel Gay" (Claude Gervaise) "La Rotta" (Trad.) "The Earle Of Salisbury" (William Byrd) "Watch The Stars" (Traditional) – 3.11 "So Early In The Spring" (Traditional) – 3:37 "No Exit" (Jansch / Renbourn) – 2:22 "The Time Has Come" (Anne Briggs) – 3:14 "Bruton Town" (Traditional) – 6:27
CD Bonus tracks: "Hear My Call" – 3:48 "Let No Man Steal Your Thyme" – 2:59 "Bells" – 4:45 "Traveling Song" – 4:17 "Waltz" – 6:00 "Way Behind the Sun" – 2:59 "John Donne Song" – 3:24
Studio album
"Sweet Child" (Pentangle) – 5:15 "I Loved A Lass" (Traditional) – 2:44 "Three Part Thing" (Jansch / Renbourn / Thompson) – 2:29 "Sovay" (Traditional) – 2:51 "In Time" (Cox / Jansch / Renbourn / Thompson) – 5:09 "In Your Mind" (Pentangle) – 2:16 "I've Got A Feeling" (Pentangle) – 4:29 "The Trees They Do Grow High" (Traditional) – 3:51 "Moon Dog" (Cox) – 2:44 "Hole In My Coal" (Ewan MacColl) – 5:23
CD Bonus tracks: "Hole In My Coal" (alternate version) – 2:44 "The Trees They Do Grow High" (alternate version) – 3:52 "Haitian Fight Song" (studio version) – 4:20 "In Time" (alternate version) – 4:40
Salomon's Seal 1972
Terry Cox – drums, percussion, finger cymbals, vocals Bert Jansch – acoustic guitar, dulcimer, harmonica, banjo, vocals Jacqui McShee – vocals John Renbourn – acoustic guitar, electric guitar, sitar, banjo, recorder, vocals Danny Thompson – double bass
"Sally Free And Easy" (Cyril Tawney) – 3:55 "The Cherry Tree Carol" (Traditional. Arranged Jansch, Renbourn, Thompson, Cox, McShee) – 2:57 "The Snows" (Jansch, Renbourn, Thompson, Cox, McShee) – 3:43 "High Germany" (Traditional arr. Jansch, Renbourn, Thompson, Cox, McShee) – 3:15 "People On The Highway" (Jansch, Renbourn, Thompson, Cox, McShee) – 4:46 "Willy O' Winsbury" (Traditional arr. Jansch, Renbourn, Thompson, Cox, McShee) – 6:50 "No Love Is Sorrow" (Jansch, Renbourn, Thompson, Cox, McShee) – 2:41 "Jump Baby Jump" (Jansch, Renbourn, Thompson, Cox, McShee) – 3:10 "Lady Of Carlisle" (Traditional arr. Jansch, Renbourn, Thompson, Cox, McShee) – 4:41
Note that "The Snows" is listed as a Pentangle composition but is actually a traditional song, previously recorded by both Archie Fisher and Anne Briggs.
No Love Is Sorrow (Jansch, Renbourn, Thompson, Cox, McShee) – 2:41
just like the songbird deep in the forest i sing praises but you never hear
deep in my body my song is silent yet content at times when you're near
please listen to me and i will tell thee all those words that have never been said
they shout inside of me but then the coward behind a weak man starts ruling my head
i never a loved thee and not one other will know sweetness that lies in my breast
'tis you that made me but have abided me to uncover my heart to the stars
no love is sorrow but now i'm happy to have thee in this world for my love
and now you must know my soul is for thee that's why this life is my sorry love
Magazine Dimensions & Info: •Trim Size: 7.75 inches wide x 10 inches high •Live Page: 6.75 inches wide x 8.875 inches high •Format: Three-column pages. •Printing: Web Offset. •Binding: Perfect bound. •Pages: 168 (average)
“One little issue of Sing Out! is worth more to humanity than any thousand tons of dreamy dopey junk dished out from the trees of our forests along every Broadway in this world. I don’t know of any magazine, big or little, that comes within a thousand million miles of Sing Out! when it comes to doing good around the world.” — Woody Guthrie, NYC, 1951
Bob Dylan Robert Allen Zimmerman 1941, Duluth, Minesota
SUS JOYAS:
The Freewheelin’ 1963 El segundo trabajo de Dylan le catapultó como compositor y letrista. Temas como ‘Blowin’ in the Wind’, ‘Masters of Wars’ o ‘A Hard Rain´s A-Gonna Fall’ provocaron un seísmo cultural en todo el mundo.
Another Side of Bob Dylan 1964 Una de sus mejores grabaciones folk.
Bringing It All Back Home 1965 Reescribiendo las reglas del rock.
Highway 61 Revised 1965 Llegó el Rock and Roll salvaje, Like a Rolling Stone.
Blonde on Blonde 1966 Blues, country, folk y rock con estilo, denso y profundo. Culminación del periodo dedicado al Rock and Roll.
John Wesley Harding 1967 Vuelta al country calmado. Emblema del country rock.
Nashville Skyline 1969 Un clásico de country rock. Un bombazo en la escena pop.
Blood on the Tracks 1975 Regreso al pasado acústico y tranquilo. Bueno entre los buenos.
The Basement Tapes 1975 Superbanda en el estudio, The Band. Americana. Grande.
EL PEOR DISCO
Dylan 1973 9 versiones que habían quedado fuera de otros trabajos. No lo quería ni él.
SUS GUITARRAS
Martin 1949 00-17 La compró en 1959. Su primera guitarra.
Precio 1946-1960 Excellent $1,600 - 2,000 Average $1,100 - 1,350
Gibson J-50 Su segunda guitarra. La perdió en 1963. Fabricada desde 1945, hasta hoy.
Gibson J-50, hermana de la J-45 Vintage Price Value For 2009 : 1945 - 1949 > $4900 to $6900 ( round shoulders ) 1950 - 1957 > $4100 to $5300 1958 - 1962 > $3500 to $4200 1963 - 1969 > $2500 to $3400 1969 - 1970 > $2000 to $2400 ( Square Shoulders ) 1971 - 1974 > $1200 to $1800 1975 - 1999 > $1000 to $1300
The Gibson Nick Lucas Special Su guitarra principal en directo (1963-66) Se fabricó entre 1928 y 1938. Muy pequeña y cómoda, hermana mayor de la L-0 y L-1 de 1926. Nick Lucas fue un guitarrista de jazz de los años 20.
Fender King (Kingman) Acústica de Fender, 1963 Le dio poco uso.
Vintage Price Value For 2008 : 1928 - 1938 > $8 500 to $12 000 ( Nick Lucas special ) 1991 - 1992 > $1 600 to $2 100 ( Reissue limited edition ) 1999 - 1999 > $1 800 to $2 200 ( Nick Lucas Reissue )
Otras acústicas: Martin 0-18 Martin Triple-0 18 Martin D-28 Martin 00-21 Martin HD-28 Gibson J-200
Eléctrica: Fender Stratocaster
AFINACIONES En esto es un maestro. Además, juega con el Capo en el primer, segundo, tercero, cuarto o quinto traste. Y a veces, sube o baja medio, uno o tono la afinación estándar.
Open E (muy utilizado): E-B-E-E-B-E OPEN E: E-B-E-G#-B-E (estilo Robert Johnson) Open D: D-A-D-F#-A-D Drop D: D-A-D-G-B-E Open G: D-G-D-G-B-D. Drop C con capo en el cuarto traste: C-A-D-G-B-E (It's All Over Now, Baby Blue)
Similares: The Rolling Stones, Bruce Springsteen, Tom Petty, Ian Hunter, Paul Simon, The Birds, Judy Collins, The Band, Beck, Travis, Bill Callahan.
Reverend Gary Davis Laurens, South Carolina, 1896 Hammonton, New Jersey, 1972
Ragtime de la coste este de EEUU. Ciego de nacimiento. Malgastó su vida en el Harlem de Nueva York. Un gigante del blues rural. Una religión en el folk y en la música tradicional. Maestro de genios como Bob Dylan, Taj Mahal, Donovan o Ry Cooder.
Pure Religion and Bad Company 1957
Harlem Street Singer 1960
At Home and Church 2010 Tres fantásticos CDs. Grabaciones de 1962 a 1967. IMPRESCINDIBLE.
Similares: Lightnin´Hopkins, Ry Cooder, Brownie McGhee, Blind Willie Johnson, Doc Watson, Bert Jansch, Hot Tuna, The Wood Brothers.
The SJ-200 True Vintage acoustic guitar delivers the look, feel, and sound of Gibson’s original Super Jumbo as it first appeared in 1937. Gibson Acoustic’s master luthiers in Bozeman, Montana have recreated a legend. The SJ-200 was originally built to cut through the loudest acoustic ensembles, but ended up defining the new American music scene of the 1930s on its way to becoming the world’s most famous acoustic guitar. The SJ-200 True Vintage captures the deep, well-balanced tone and powerful sound of these celebrated guitars, and are almost identical in makeup and structure as the most popular 1950’s versions including an Adirondack red spruce top and VOS finish.
Gibson GB-1 Rare model and an incredible piece of American history. This is the banjo that was recorded and played by the Reverend Gary Davis. This is a non Mastertone banjo with thick, 11 inch rim and simple tonering. It has all the appropriate documentation. The original flange was broken and a replacement makes it playable once again.
The Gisbon b-45-12 was also in production during these years ( 1961-79 ) it was a 12 string acoustic guitar , flat top , mahogony wood . The 61-62 models had round shoulders and from late 62 and on gibson made them with square shoulders , and were made in sunburst colors .
In 1963 Gibson also introduced the B-45-12-N ( same guitars but in natural finish ) production ended in 1979 . Vintage Price values are more or less the same as the Gibson b-45-12 ( sunburst )
Because of the high demand gibson in 1991 made a limited edition reissue of the b-45-12 ,same guitar but was built with rosewood wood on the back and sides of the body .
Because of the limited number of gibson b-45 reissues produced , they are also considered somewhat collectible .
Vintage Guitar Price Value 2008 : 1967 - 1971 > $500 to $700 ( b-15 ) 1962 - 1969 > $1000 to $1600 ( b-25 ) 1970 - 1977 > $900 to $1000 ( b -25 ) 1962 - 1969 > $950 to $1500 ( b-25n ) 1970 - 1977 > $750 to $1000 ( b-25n ) 1962 - 1968 > $700 to $1200 ( b-25 3/4 ) 1962 - 1966 > $900 to $1600 ( b-25 / 12 ) 1967 - 1977 > $800 to $1000 ( b-25 /12 ) 1961 - 1962 > $1900 to $2300 ( b-45-12 round shoulders ) 1962 - 1964 > $1700 to $2100 ( b-45-12 square shoulders ) 1965 - 1969 > $1400 to 1700 ( b-45-12 ) 1970 -1979 > $900 to $1100 ( b-45-12 ) 1991 - 1992 > 950 to $1200 ( b-45-12 reissue )
Collins D1 Acústica de sonido limpio y brillante. Celta, folk, country, bluegrass
Bill Collings moved from Ohio to Texas in the mid 1970’s. Spurred by a lack of interest in medical school, this move enabled him to combine lifelong interests in both guitars and tools into the challenge of stringed instrument building and repair. After a couple of years in Houston, several guitars and a few banjos later, he headed west to southern California. Making it only as far as Austin, he shared shops with fellow luthiers Tom Ellis and Mike Stevens. From there, he set up his own small shop in a wooden "one car" garage. His reputation for outstanding quality and meticulous attention to detail quickly spread. In 1989, he rented a 1000 square foot space and hired two helper.
Dimensions
Body Length: 20" Body Depth: 4 7/8" Lower Bout Width: 15 5/8" Total Length: 40 1/4" Scale Length: 25 1/2" Standard Nut Width: 1 11/16" Strings
he square-shouldered 14-fret dreadnought is the most popular steel-string acoustic guitar body shape in the world. While Collings is certainly not the first to build them, we bring a new tonal clarity to the depth and warmth usually associated with such a large, deep-bodied guitar. Although its bass response makes the dreadnought ideal for vocal accompaniment, Collings versions are also often employed by bluegrass flatpickers who must compete with inherently louder instruments such as banjos and fiddles. The wide range of woods and neck sizes offered allow dreadnought fans to find a Collings model ideally suited to their playing style and tonal preference.
Select Sitka spruce Honduran mahogany back & sides Tortoise-style binding Simple walnut backstrip Pre-war scalloped bracing Black/white wood nitrate strip rosette Tortoise-style pickguard High gloss nitrocellulose lacquer finish Honduran Mahogany Neck Ebony fingerboard and bridge Ebony peghead overlay Mother-of-pearl Collings logo Pearl dot fingerboard markers Fully adjustable truss rod Bone nut and drop-in saddle Ebony bridge pins and end pin Nickel Waverly tuners
Collings D-1A SB Varnish (used – 2007) Like New condition. This is a D-1 to the hilt with a ‘30’s Martin style sunburst, wide grain Adirondack top, figured Mahogany back and sides, tortoise shell style binding, and varnish finish. Ebony peghead overlay with mop Collings logo inlaid and open back nickel plated Waverly tuners, ebony fretboard with dot inlay, *vintage now* neck with 1 ¾” nut, ebony bridge, and dark tortoise shell style pickguard to match the binding. A very powerful guitar with great playability. OHSC List new would be $7,150.00, our price is $5,450
Acústica de Nashville. Thibodaux, Louisiana. Dixie Kitchen (1997) Drag Queens in Limousines (1999) Filth and Fire (2002) Mercy Now (2005) Between Daylight and Dark (2007) Genesis ( 2008) The Foundling, 2010 MARY GAUTHIER.
Para una noche acústica. Maywood, Illinois. John Prine, 1971 Sweet Revenge, 1973 Bruised Orange, 1978 ...The Missing Years, 1991 In Spite of Ourselves, 1999 In person & On Stage, 2010 JOHN PRINE. 2010.
