Papa John Phillips' only solo record of consequence during his lifetime had more in common with the morose, hippie-downer twang which The Flying Burrito Brothers favored, rather than the slick, orchestrated, sunshine pop which The Mamas & The Papas spread to the masses. Often known as John, The Wolf King of L.A., the only thing it really achieves is soundly conveying the muddled state of mind he was in as the 70’s unfolded. And it's not even the total downer record it's been purported to be ("Captain"). At this point it was out of everyone's control but the John Phillips solo record was meant to come and go.

The title is a reference that Nelson wrote all ten songs here. But I don't think there is a significant difference between the Stone Canyon Nelson or the late 60's Nelson who cut records with John Boylan and the Wrecking Crew. The material is generally in the same ballpark, just given that authentic country flourish thanks to Tom Brumley's lovely steel guitar passages. But sizeable portions of the album venture into singer-songwriter and pop territory. There doesn't seem to be any one standout track that it anchors on, either, relying mainly on gentle, unassuming material. That is actually it's curse and blessing all at once.

This is nowhere close to a great album, but not near as disdainful as critics judged it when it was relevant. The group was essentially the brainchild of John Wozniak, who derived the name from the playground of an Minnesota alternative school he attended, and based a lot of the songs from personal experience. When the big single was the Violent Femmes-like "Sex and Candy", but with dumber references like "double cherry pie" and "disco lemonade", naturally critics were not impressed. Once the novelty of "Sex and Candy" wears off, there is substance here, mainly in that Wozniak deftly constructs a cutesy, yet deceptively dark-humored fantasy land which is far more than just one hit tune. "Saint Joe's On The School Bus" was a second hit at the time that goes unnoticed now, and has a more 80's alternative feel. Grunge, new wave, and old-school singer-songwriter folk share the bill in a roughly equal manner on this album, which is worth a few spins.

Three dudes from Scotland and a German drummer form a little-known blues-rock band from the ashes of an even lesser-known 60's bubblegum act (The Tremors) which released a couple of singles in mainland Europe. The weird thing is, despite all of the blatant thievery in the tones and style and delivery, this one and only album from LOD turns out to be a bit of a charmer to listen to - especially if you dig the late 60's-early 70's "blooze rock" scene. Key tracks include a hypnotic cover of Tony Joe White's "Soul Francisco", "Movin' Along", and "Down 'n' Out".

A fairly strange conglomeration of then-popular rock and pop trends, in one package, from the Industrial Midwest (Youngstown, Ohio, to be exact), with a funny-sounding British name, and the misfortune of releasing their one album just before disco took the country by storm. To be fair, there are a lot of good, groovy tunes here – some of on the glam, and some of them on the grumbly, hard rock side – and the lead singer, Dennis T. Menass, was out of the Steve Marriott school of vocalizing. “Bad Talkin’ Lady” – a vicious mix of thuggery and glam – was the single, but they weren’t above poppy, bubblegum stuff like “Mary-Jo”, or a cover of The Beatles’ “Every Little Thing”, either.