Most of them remained available through the life of the series-- Exceptions being the Looney Tunes triple-disc and "Zapped" which sold out fast.
holy crap... i found a pile of those in the mid 80s. i think the only one i have left is this: is it part of the same series?
The other single disc Loss Leaders (October 10 1969, Non Dairy Creamer, Together) also didn't last long.
There are some indications that copies of some titles have been seen with a post-1983 Warner Brothers label on them (the series ended in 1980), which suggests Warners was still honoring coupons well into the 80's. I'll note these as they come up.
Also worth noting the album "Hirth From Earth" by Hirth Martinez. Produced by Robbie Robertson and thought to be a potentially huge album, but it flopped in a big way. Everybody who'd bought a Loss Leader received a mail-in offer to buy a copy for 25 cents!
Two of 'em: 'Help Somebody' was on Together (LL#10, 1971) and 'Moment of Truth' was on All Meat (LL#21, 1975)
The Meters had tracks on four Loss Leaders: 'Cabbage Alley' was on Burbank (LL#13, 1972), 'Jungle Man' was on Deep Ear (LL#19, 1974), 'Fire on the Bayou' was on The Works (LL#24, 1975) and 'Trick Bag' was on Cook Book (LL#27, 1977)
In the early '60s he was known as Bob Camp and made a fantastic live folk album with Bob Gibson (on Elektra) called Gibson and Camp At the Gate of Horn. It's out of print and very hard to find (I'm still searching for it), but they re-recorded the whole album live at Holstein's (Gate of Horn Revisited) in 1986 with 3 additional songs. Also great (and a bit easier to locate).
My last post should give you some kind of idea - this guy I know sez you could still send away for those albums as late as 1986 - but I don't know when the official cut-off date was.
Warners was releasing more of it. During the early years of the series, the label had already closed down their Loma subsidiary, which was primarily an R&B outlet. They didn't really jump headfirst into black music again until 1972, with the Meters, Dionne Warwick and others.
There was an album I bought that I thought was a Loss Leader album, because it has a Loss Leader inner sleeve, but based on this discussion, I don't think it was a LL. It was a comp that comes off like a "best-of" Loss Leaders. It had titles like Spirit in the sky, Pata Pata, Vehicle, Do Your Thing and others I cannot remember off-hand. It was in a cover that was white with all the song titles and artists printed in large type on the front and back. I do believe it was on the Reprise label, or WB at least.
They also had Labelle around 1971 but they wouldn't become successful until they left the label, same with Earth Wind & Fire.
Schlagers! arrived on my front porch in a 12-inch cardboard record mailer, and was shrinkwrapped. That was in 1075. I still have that same copy.
I have that one. It's a great collection of hits. It's not a Loss Leader,though. It was actually sold in stores at regular price.
I didn't know Together existed until I found it in a thrift store for 25 cents in the '80s. I never saw it on any of the inner sleeves.
I started to say...I never saw that, nor the Non-Dairy Creamer advertised on the innersleeves myself. For that reason, I thought they were totally removed from the Loss Leader series.
If anyone is interested, most of these are on ebay cheap. I just bought 3 2-LPs and didn't break $20.00!
Great thread idea, kudos to the OP. I have a bunch of these LP's. Yes, Stan Cornyn was involved with writing the copy for some of these release and he write about them in his book. I bought his book a few years ago for 5 bucks, Holy COW! This can't be right; http://www.amazon.com/Exploding-Heroes-Hustlers-Warner-Paperback/dp/B010EWJVP8/ref=sr_1_fkmr0_2?s=books&ie=UTF8&qid=1442443622&sr=1-2-fkmr0&keywords=exploding stan croyn Great read on the music biz.
I bought this as a cut out. Its inner sleeve is where I cut out the coupon for Zapped. I put a dollar in the envelope and mailed it off to Burbank. Zappa for a BUCK??? How could I go wrong? Don't forget there were TWO covers for that one, and IIRC the line up was reworked. The original cover was sort of a collage, and the second had the B&W shot of Frank(mine). It was on the blue Bizarre label(I'll wax on this one when it comes around). Later I got Limo.
I wanted the Loss Leaders bad, so bad, and almost had my mom talked into writing a check for all of them on the coupon I had and then my older brother took a look at it and told my mom that a 12 year old shouldn't be listening to Frank Zappa and that was it. I never did get any of these, so I'm really looking forward to reading this thread. And, I'm going to start seeking out copies when I get to a decent vinyl shop.
The Big Ball (PRO 358 - 1970) Notes: Art Direction – Ed Thrasher Liner Notes – Richard Goldstein Photography By [Cover] – Rod Dyer Fourth album in the Warner-Reprise 'Loss-leaders' "PRO" Promotional series, and the third double album. Gatefold sleeve with 4-page booklet. Later editions exist with cream labels indicating a post-1983 re-release. Sides are untitled this time out Scans of booklet and cover here: http://www.willardswormholes.com/archives/28140 Tracklist A1 –The Fifth Avenue Band Nice Folks (2:27) A2 –John Sebastian Red-Eye Express (2:57) A3 –The Beach Boys This Whole World (1:56) A4 –Geoff & Maria Muldaur New Orleans Hopscop Blues (2:45) A5 –Arlo Guthrie Coming In To Los Angeles (3:04) A6 –Eric Andersen I Was The Rebel, She Was The Cause (2:36) A7 –Norman Greenbaum Jubilee (2:58) A8 –Savage Grace Ivy (4:09) B1 –Van Morrison Caravan (4:58) B2 –Fleetwood Mac Oh Well (9:02) B3 –The Pentangle Sally Go Round The Roses (3:35) B4 –Jethro Tull Nothing Is Easy (4:24) B5 –Small Faces Flying (4:16) B6 –Family No Mule's Fool (3:18) B7 –The Kinks When I Turn Out The Living Room Light (mono) (2:23) C1 –Everly Brothers I'm On My Way Home Again (2:20) C2 –Tim Buckley Happy Time (3:11) C3 –Joni Mitchell Big Yellow Taxi (2:16) C4 –Neil Young The Loner (3:51) C5 –Gordon Lightfoot Approaching Lavender (2:52) C6 –Randy Newman Mama Told Me Not To Come (2:10) C7 –James Taylor Fire And Rain (3:24) C8 –Dion Sit Down Old Friend (3:25) D1 –Ed Sanders The Illiad (4:07) D2a –GTO's Kansas And The BTO's (1:29) D2b –GTO's The Captain's Fat Theresa Shoes (1:56) D2c –Captain Beefheart Ella Guru (2:26) D2d –GTO's The Original GTO's (1:06) D2e –The Mothers Of Invention* WPLJ (2:52) D2f –Wild Man Fischer The Taster & The Story Of The Taster (2:56) D2g –Pearls Before Swine Footnote (1:17) D3 –The Grateful Dead Turn On Your Love Light (6:44) Song Commentary: A1 –The Fifth Avenue Band Nice Folks (2:27) We met these guys on the previous collection, where I called them a rocking version of the Lovin' Spoonful. This breezy, jaunty pop tune definitely doesn't rock much, but it sounds even more like an updated Lovin' Spoonful. It's a little slicker and smoother than you'd expect from the Spoonful, and the backing vocals get a little corny in places. The jazzy tempo and chord changes are appealing, but there's something a little naive and anonymous about the whole thing. Taken from their 1969 debut The Fifth Avenue Band, which failed to find an audience. A2 –John Sebastian Red-Eye Express (2:57) In retrospect, Warner Brothers must have been disappointed in Sebastian, whose solo career petered out long before the Loss Leaders series ended. However, here he is fresh from his impromptu performance at Woodstock, with his debut solo album John B. Sebastian (1970) out. Getting the album out was no small feat; MGM claimed Sebastian still owed them an album, which led to the bizarre situation of the same album released by two different labels simultaneously. A flurry of lawsuits resolved the issue in Warners' favor, but damage had been done to Sebastian's career. As for the song, it is a light rocker with some amusing lyrics and a lot of nice harmonica. Fairly minor, but inoffensive. The album managed to peak at #20; every step forward would be a step down for Sebastian until his fluke hit, "Welcome Back" A3 –The Beach Boys This Whole World (1:56) Making their first Loss Leader appearance, the Beach Boys are represented by a track from Sunflower, their first album for Reprise. Van Dyke Parks had helped broker their deal. This was another deal that must have disappointed Warner/Reprise. The album could only muster a very weak #151 on the Billboard charts, despite garnering its fair share of positive reviews. "This Whole World" is a Brian Wilson composition, sung by Carl Wilson. This appearance was the first public airing of the song, as the album was still months away from release. It sounds like a return to form in some ways, with sparkling vocals and harmonies and a good production job. A4 –Geoff & Maria Muldaur New Orleans Hopscop Blues (2:45) The Muldaurs are back for their second appearance on Loss Leaders, this time from the duo's debut album, Pottery Pie. Geoff Muldaur handles the lead vocal on this track, a woozy New Orleans-shaded rocker. This is the kind of thing the duo did best; slightly off-kilter songs that borrowed from old time American musical traditions. The duo would produce two well-regarded albums before splitting up (the band and their marriage); Geoff would subsequently depart the label while Maria would be rewarded with a surprising five album contract. A5 –Arlo Guthrie Coming In To Los Angeles (3:04) Fresh from his Woodstock appearance, his movie, and the cover of Newsweek, Arlo seemed destined for an almost Bob Dylan-esque level of stardom. It didn't turn out that way for him in the end, but here he's riding high with his dope smuggling anthem, "Coming into Los Angeles", which featured prominently in the Woodstock movie. This is the second dip into his 1968 album, Running Down the Road. A6 –Eric Andersen I Was The Rebel, She Was The Cause (2:36) I've mentioned a couple of times that Warners seemed absolutely determined to turn Andersen into a superstar, despite the fact he was on his sixth album by this time. This is the second tune taken from Eric Andersen, which the liner notes helpfully suggest we should consider to be his first album. Recorded in Nashville, this is pure country rock with a shaggy dog tale for lyrics. A catchy foot stomper, it does display Andersen in a good light. However, it did not result in superstardom. A7 –Norman Greenbaum Jubilee (2:58) October 10, 1969's whole ad campaign hinged on the premise that Warners was begging you to help turn "Spirit in the Sky" into a hit. Mission accomplished, they turn here to a second song from Spirit in the Sky. This is really a very catchy song, with all the sonic elements in place that made "Spirit in the Sky" but is far from a rewrite. I actually like this song better; it has a swing to it that is nearly irresistible, and has "hit" written all over it. However, Greenbaum's fifteen minutes were already over. A8 –Savage Grace Ivy (4:09) This Detroit hard-rock/prog outfit was a new one to me; I had never heard of them. The liner notes confidently state that "since this is their first album, there are chapters more to be written", but the liner notes were probably the longest chapter ever written about this band, who managed only two albums. They shared bills with big names like Yes, Small Faces, Alice Cooper, and the Moody Blues, but slipped through the cracks. "Ivy" definitely sounds like the typical Detroit rock of its day; heavy and sweaty with a good guitar/vocal hook. A new version of this band existed in the 1990's, disbanding with the death of original guitarist Ron Koss. B1 –Van Morrison Caravan (4:58) Morrison's first Warner/Reprise album was Astral Weeks, which was sampled on the first compilation. "Caravan", one of Morrison's most widely known and popular songs, is from Moondance, which was then climbing the charts. This is one of those songs from the era that still turns up everywhere; in movies, TV shows, other artists' setlists. Not much I can add to what has already been said about it, except that this time the liner notes got it right about the song (and artist) enduring. B2 –Fleetwood Mac Oh Well (9:02) This is the longest cut we've seen so far on a Loss Leader. This is the second draw from Then Play On, the only album to feature both Danny Kirwan and Peter Green. It is also an album that marked the start of a four-decade run with Warner Brothers. "Oh Well" is probably the most well-known song on the album to non-fans, but it actually wasn't even included on first pressings. Once it had become a hit in England, Warners reconfigured the album to include it. Part 1 is where the real meat is, it is one of those songs from the era that seemed to straddle the edge between blues rock and heavy metal. B3 –The Pentangle Sally Go Round The Roses (3:35) The Pentangle makes its third appearance, with its second song from its most successful album, Basket of Light (1969) A fairly straight reading of the Jaynetts' enigmatic hit, it features the delicate instrumental flourishes that the band was known for. Great acoustic bass and acoustic guitar solos on this one. Produced by Shel Talmy (The Who, The Kinks) B4 –Jethro Tull Nothing Is Easy (4:24) One interesting thing we've seen so far is the gradual development of Jethro Tull. Back with their third song so far, taken from Stand Up, we find the band caught somewhere between the bluesy sound of its debut album, and the classic Tull sound of the early 70's. Despite the transitional nature of this sophomore album (key member leaves, key member joins), it reached #1 in the UK. US audiences, a little slower to warm to the band, still took it to a respectable #20. B5 –Small Faces Flying (4:16) Speaking of transitional, here we have a cut from First Step, which was really by the Faces, but North American releases still retained the "Small" in their name for this album. Rod Stewart and Ron Wood are aboard, replacing Steve Marriott who had quit in a huff onstage in 1969. One of their great songs, this has some fiery guitar and heavy organ, with one of Stewart's best early vocals. Nothing "small" about it. B6 –Family No Mule's Fool (3:18) Making their second appearance, Family is represented by their first charting (#29) UK single, "No Mule's Fool". Not included on an album in the UK, it was tacked on to the beginning of the band's 1970 album A Song For Me in America. A gentle and tuneful number, it is essentially an ode to laziness, in which a mule and a boy spend the day relaxing in the grass. Nice violin throughout, and a nice countrified jam with plenty of picking at the end. B7 –The Kinks When I Turn Out The Living Room Light (mono) (2:23) John Mendelsohn may have taken a break from the liner notes this time out, but the heaps of praise lavished on the Kinks continues unabated in the liner notes, this time bemoaning the "indifference of those of you out there in Radioland". This song was touted in the ads and the liner notes as an unreleased Kinks track, which it was for a few years until turning up on The Great Lost Kinks Album, which, despite Warners' unflagging support for the band, Ray Davies sued to have withdrawn from the market. The message here is: never fall in love with your idols. As for the song, it's typical of the band's late 60's material; not a masterpiece, but an agreeable bit of whimsy about living with an ugly spouse. C1 –The Everly Brothers I'm On My Way Home Again (2:20) Another early Loss Leader favorite are the Everly Brothers, who make their fourth appearance so far. The Everlys were arguably making the best music of their career in the late 60's, but it was largely going unheard: they hadn't placed an album in the charts since Beat & Soul hit an anemic #141 in 1965, and with the exception of "Bowling Green" (#40) in 1967, they hadn't landed a single in the Hot-100 since 1964. This kind of artist is exactly the type who could have benefited from these releases, and Warners stuck by them. "I'm On My Way Again" was another flop single from 1969. It is another tune in the country rock style they had explored on Roots (1968), and would not sound out of place on a Flying Burrito Brothers or Poco album. I don't know why they struggled so much; perhaps their image was just wrong for the times in 1970. C2 –Tim Buckley Happy Time (3:11) Tim Buckley makes his first appearance here with "Happy Time", taken from his self-produced 1969 album Blue Afternoon, released on Frank Zappa's Straight label (get it? Zappa had two labels, "Straight" for the normal folk, and "Bizarre" for the freaks) , distributed by Warners. For a song about coming home with a happy title, it sure is a melancholy, moody song, existing in a weird space between folk and jazz. It represents Buckley near his creative peak, and his vocal is in fine form. Blue Afternoon is a notoriously hard to find album on CD. C3 –Joni Mitchell Big Yellow Taxi (2:16) One of Mitchell's most famous songs, "Big Yellow Taxi" was only a moderate hit in 1970, peaking at #27 in the US. Taken from the album Ladies of the Canyon, it marks the start of her rise to superstardom. Warners was in her corner all along, as this is her fifth appearance on a Loss Leader album (although only three were actual songs). C4 –Neil Young The Loner (3:51) Fellow rising superstar Neil Young is represented by one of his most well-known songs of the era, "The Loner", taken from his debut album. It also had been his debut single for Reprise, but failed to chart. In fact, his debut album and all of its singles did not chart; surprising, considering he was relatively well-known at the time via his association with Buffalo Springfield. By 1970, he was selling more records, but Everybody Knows This Is Nowhere only made it to #32, and he didn't have a solo single crack the top-30 until 1972. Warners must have decided he needed a bigger push, and after the relative success of his sophomore album and his CSNY work, they decided to revisit his debut. C5 –Gordon Lightfoot Approaching Lavender (2:52) The third Canadian in a row, Gordon Lightfoot was on the cusp of stardom as well, although his would be much shorter-lived than those of Young and Mitchell. This was taken from his first Reprise album, Sit Down Young Stranger (1970), which quickly was retitled If You Could Read My Mind after the song of the same name topped the Canadian charts. This song is typical of his style, a gentle, strings-laden folk-ish love song. C6 –Randy Newman Mama Told Me Not To Come (2:10) Randy Newman's third entry to the series, "Mama Told Me Not to Come" was a smash hit for Three Dog Night. However, Newman's own records, including 12 Songs, from which this was taken, continued to languish, which even the liner notes admit was "discouraging". The album was met with almost universal praise from the critics, but failed to chart. Newman's fortunes would improve throughout the decade, even netting him an elusive top-10 album in 1977, but at this stage, he was indeed a loss leader. C7 –James Taylor Fire And Rain (3:24) Continuing the side of soon-to-be-stars, James Taylor checks in with the leadoff single from his Warners debut, Sweet Baby James (1970). Rescued from his contract at Apple records, where at best he could have hoped for a career like Badfinger's, he immediately became one of Warner Brothers' top-selling artists, and would remain so for most of the decade. This must have been a relief to Taylor, whom Peter Asher described as "essentially homeless" at the time, crashing on sofa to sofa. "Fire and Rain" put a stop to that, peaking at #3. It remains one of his best loved songs. C8 –Dion Sit Down Old Friend (3:25) Dion DiMucci is kind of the odd man out on this side of famous names. While everyone else on this side were either approaching their peak or at it, Dion was fading. He had had a key hit in 1968 with "Abraham, Martin, and John", but was drifting again when Warners picked him up for a four album deal. "Sit Down Old Friend" is the title track of his first Warners album, released in 1970. Musically, the cut fits the side well, another moody singer/songwriter cut, although his vocal delivery is a bit idiosyncratic and not especially commercial (more Tim Buckley than James Taylor, you could say). However, it is pretty good, with a nice haunted feel to it. This album and his next one didn't chart at all, but his final two Warners albums scraped the bottom of the chart at #200 and #197 respectively. D1 –Ed Sanders The Illiad (4:07) Thusfar, Loss Leaders had relied on the Fugs as their #2 go-to artist for weirdness, after Frank Zappa. Unfortunately, the Fugs disbanded in 1970, so "The Illiad" from Sanders' 1969 solo debut, Sanders' Truckstop was chosen to lead off the "weird side" of The Big Ball. More of a twisted novelty record than anything else (primary subject matter: rednecks beating up gays), it features a faux-country sound and a lot of not-great fake southern accents. Sanders naturally doesn't endorse such things; he's a Lower East Side poet/Yippie type, but it is not a song you're likely to play in mixed company much. After this, Sanders would take a break from music for awhile to write The Family, one of the most atmospheric and creepy books about Charles Manson ever. D2a –GTO's Kansas And The BTO's (1:29) Except for the Dead tune at the very end, the rest of this side is presented as a medley of sorts. The GTO's were a Frank Zappa project, recording for Bizarre. Led by famous Laurel Canyon groupie Pamela Des Barres (Pamela Ann Miller at this point), the GTO's deserve some credit for being one of the first all-women groups, although one might not wish to turn to them as paradigms of feminism. This and the other clips are taken from their lone 1969 album, Permanent Damage. No music, just the girls talking about Laurel Canyon. D2b –GTO's The Captain's Fat Theresa Shoes (1:56) This one is a song, and it has Zappa's touch all over it. A comedic close-harmony (kinda) number featuring such things as harpsichord and Jew's harp in the mix, it is a bit of inspired madness. D2c –Captain Beefheart Ella Guru (2:26) Captain Beefheart checks in for the first time with "Ella Guru", from his opus Trout Mask Replica, which was released in 1969. What struck me listening to it today is that it no longer sounds as weird as it once did. Artists like PJ Harvey and Tom Waits have turned similar sounds into semi-popular songs, suggesting that Beefheart was ahead of his time all along. D2d –GTO's The Original GTO's (1:06) More chatter from the ladies, about nothing really. Weird but subtle echo effects are present. D2e –The Mothers Of Invention WPLJ (2:52) Taken from Burnt Weenie Sandwich (1970), this is a cover version of the Four Aces' weird-in-itself doo wop classic. The arrangement is a little twisted, especially the voice overs, but it also follows the original fairly faithfully. Thus, it manages to be both a spoof and an homage simultaneously. Zappa has been quoted as saying, admiringly, that he could never have written a song any more absurd than this one. The Mothers' version of this song was the source of the 1970's New York rock radio station's call letters. D2f –Wild Man Fischer The Taster & The Story Of The Taster (2:56) When we first met Wild Man Fischer, on Songbook, he was busy hawking songs for a dime, and we didn't get to hear one of them. So, here's the first complete song. This one features a full band and has a 50's flavor to it; again it is very Zappa-eque. Fischer's vocals are actually more conventional here than usual, but the lyrics are a stream of crazed associations that probably would never occur to a non-schizophrenic. The song fades down so we can hear a voiceover of Fischer talking about how he writes, among other random topics. From An Evening with Wild Man Fischer, released on Bizarre in 1969. D2g –Pearls Before Swine Footnote (1:17) Warners hadn't yet given up on Pearls Before Swine, whose brief and disturbing opener to the largely undistinguished These Things Too (1969) closes the weirdness medley. Last line, "and when he cried, little children died in the street..." D3 –The Grateful Dead Turn On Your Love Light (6:44) This is an edited-down version (the album version runs over 15 minutes) of the Pigpen stomper from Live/Dead (1969). What can be said about it? Bluesy and soulful, it still didn't pay the bills. The Dead at this point were in tremendous debt to Warners, having written into their contract a clause that permitted unlimited studio time, which cost money. Producer David Hassinger walked out on the band in the middle of the Anthem of the Sun sessions (he couldn't fire the whole band, like he did with the Electric Prunes, but you know he wanted to). Joe Smith, the exec who worked most closely with the bands, was ticked off by what he saw as endless dicking around in the studio. But the Dead didn't care; they just followed their muse. 1970 would prove to be a turning point for the band with back-to-back classic albums. But I'm getting ahead of the story here. Advertisement: Additional Thoughts: The Big Ball, for my money, is where the series really begins to hit its stride. I really see Loss Leaders as a mainly 1970's phenomenon, hatched in the dying embers of the 60's by hippie-informed corporate execs. The Big Ball, aside from being the first Loss Leader of 1970, looks, sounds, and feels like the 70's. The baroque post-psychedelic designs of the Woodstock-era Songbook and Record Show jackets have been replaced by pure 70's minimalism. There has been a subtle fine-tuning of the programming, with a little extra bait (i.e. unreleased Kinks, a few more A-sides than usual) to lure people in. The "weirdness side" makes a welcome return. The liner notes use a very 70's looking font. They use the word "pride" in the very first sentence of the liner notes, marking a change in attitude from their humble beginning. Even the ads sound more confident. The ads also include the first two collections (omitting October 10, 1969 entirely). The overall sense it that this was produced with the upfront expectations of a wider audience, while the first two were more tentative. The ads definitely make it look like it's worth picking up all three for the paltry sum of six bucks. Richard Goldstein (The Village Voice) wrote the notes to this one, and whatever he may lack in Mendelsohn's gushing prose, he makes up for with a few useful bits of information. It's still kinda gushy, but in a more sophisticated 70's way... As for the listening experience, it is in the same league as the others. As long as it is, it never got dull or boring. The album in 2015 might seem a little more hits-oriented, but keep in mind that the "hits" on it weren't yet hits; it adheres to the concept of the series. Whether or not it is better or worse than the others is impossible to say; let's just say this is another fun album in the series and a swell listen. Discogs notes that this title exists with a cream-colored label, which was introduced in 1983. If this is accurate, it would seem to indicate that Warner Brothers continued to honor coupons for several years after the series ended in 1980. Maybe they really were nice guys? Most Appearances: Joni Mitchell, 5 (only 3 songs) The Kinks, 4 The Everly Brothers, 4 The Mothers of Invention, 4
I love, love, LOVE his book, "EXPLODING!!!" One of the few book I actually RE-read for not only the history, but his fun style of writing! Every SH forum member should own it! Think of it as a 'happier' "Hit Men"!
A few comments. Maybe my favorite of the few songs from this album that didn't become famous. Fifth Avenue Band are also nice. Interesting to compare Newman's low-key delivery with the exaggerated comedy of the Three Dog Night version. Apparently Davy Jones (not sure if it was that Davy Jones, but it seems likely) cowrote this. Interesting sequencing here making it seem as if Tom Rapp is singing about Wild Man Fischer. This weirdness medley on side 4 works better than the similar one on side 3 of Songbook, I think.
