music collection review, post 3
Jan. 22nd, 2026 02:52 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
thedarlingoneOkay, let's see if I can get slightly further into the letter A. (I should probably be tagging these posts or something but I'll worry about that later. Titling them's a start, anyway.)
* And a God Descended, Dar Williams. I know there are a few Dar Williams songs in here I definitely want, but most of them are not quite my taste, including this one.
* Andorra, Pete Seeger. This is a fun song based on a newspaper clipping Pete saw once quoting the Andorran national defense budget as the equivalent of $4.90 (for artillery charges for their national anniversary celebration).
* Anduril, Howard Shore. I could *probably* trim this down by cutting out the rest of the LotR soundtrack entries without listening to them but I don't really want to? At least not so far.
* Angels We Have Heard On High, John Barrowman. I appear to have a Christmas album of his for some reason? He's not one of my favorite singers. I think I acquired a bunch of this "why" music from Kat, who kindly let me raid her music collection a couple years back, so there'll be a lot of opinions here lol. Barrowman's version fucks with the pacing of the song in ways I'm not enjoying; somehow it's my only cover of this song but I'm sure I can find a better one somewhere.
* Animal Fair/Frog Went Courtin'/Come to the Zoo, RCA All Time Favorite Children's Songs, this track apparently by the Richard Wolfe Children's Chorus. Wow, I don't have nearly the whole tracklist, huh. It doesn't have the All Through the Night cover I was looking for, but it does have almost everything else that was on what I have labeled as the Yertle mixtape, so that's something I should definitely be able to track down in better quality.
* Annabel, Ye Banished Privateers. Haul-away chantey with a female lead singer and a fun percussion ostinato backing. This probably came from Soph's collection of sea chanteys, like most of my traditional folk pieces.
* Anne Louise, The Longest Johns. Instrumental, twiddly, not displeasing. (I can't tell instrumentals apart if I don't know the lyrics; there are several later on this list with disambiguation subheadings by me as "Only Slightly Slower Instrumental" etc.)
* Another Man Done Gone, Johnny Cash and Anita Carter. Very traditional spiritual style with a cappella call and response.
* Another Mystery, Dar Williams. Upbeat song about getting out and touching grass. Not sure how I feel about it.
* Another National Anthem, Assassins soundtrack. Probably not keeping most of these on my phone.
* Any Old Wind That Blows, Johnny Cash. Aw, I like this one. He's good at saying things that haven't been said a million times before in every song ever written.
* Apache Tears, Johnny Cash. "Apache tears" in geology are little rounded pebbles of translucent obsidian, largely found in the foothills of the Rockies, folklorically said to be the fossilized tears of the Native Americans driven off their land.
* Apples and Bananas, Raffi. My childhood tape of this one got corrupted halfway through the song, so I always slightly expect it to cut off and am surprised when it goes on.
* Are We Dancing, The Happiest Millionaire soundtrack. The Happiest Millionaire was a little-known '60s live-action Disney musical starring Lesley Ann Warren, Fred MacMurray, and Tommy Steele (who for some reason was typecast as comedy Irish characters in the States despite being cockney by birth; I once commissioned a review of a random ten minutes of this movie from I think GL Valentine which produced the amazing sentence "He's three times as Irish as anyone has ever been", which it amuses me to quote to myself in my own thickest Irish accent). It's not *good* per se but the soundtrack is full of bangers. This is one of the weaker entries as far as it doesn't actively earworm me out of nowhere most of the time, but it's still very pretty.
* Are You From Dixie, Great American String Band. Ragtime, mostly instrumental, cannot understand the vast majority of the lyrics but it's fun to listen to anyway because I do enjoy a ragtime beat. Appears to be about a train.
* Are You Lonesome Tonight, Great American String Band. Technically mostly vocal but I don't know who the associated vocalists are. Ballad-ish song pining about an ex. Not really grabbing me.
* Are You Out There, Dar Williams. I have three different versions of this from three different albums, as is the case with a lot of my Dar Williams; I'm not sure if I want any of them.
* Around and Around Old Joe Clark, Pete Seeger. Most of my Pete Seeger tracks are recordings of live performances, with his chatty little intros to each song, and this one talks about how he learned the banjo fingering technique he uses on the song from his younger brother. "And I said, well I talked about that but I never knew how to do it, so I sat down and followed some of the advice I put in my own banjo book and I practiced." I really like his sense of humor and how encouraging he is about music being for everyone. I didn't encounter his work till I was in college and had already started singing a bit but there's a reason I went to the library and copied every CD of his I could get my hands on, once I did run into him (I forget where or how). This one wanders off into Cripple Creek at the end but I haven't decided whether to add that to the title.
* Around the World, The Weavers. My copy of The Weavers at Carnegie Hall is a bit scuffed, but the music is still delightful (and the running joke about Greensleeves cracks me up, the whole album is worth listening to in order although that's almost never how I listen to music). This one is a medley showing how folk dances from various countries fit to the same rhythm.
* Arrival, Dar Williams. At this point I just have a lyrics site open to look up Dar Williams and Elvis mostly. This is a pretty song but again it's not quite grabbing me.
* As Cool As I Am, Dar Williams. I have four different copies of this, why. I think two renditions? I'm not loving either one. It's a perfectly reasonable song, about not letting romantic partners set you against other women by making you jealous, but not really a relatable experience to me and I don't love the music enough to keep it.
* As Long As the Grass Shall Grow, Johnny Cash. The album "Ballads of the American Indian" pulls zero punches, huh. Not like it's a surprise from Johnny Cash but I don't know how many of these I've actually listened to before; they certainly weren't on rotation in the selection of Johnny Cash I grew up on. (Which grew narrower as I got older and my family got more... you'd think radicalized would be the right word but it isn't quite. More uptight, maybe; One Piece At a Time and I've Been Everywhere disappeared from the rotation at some point, for instance.)
* Ash and Smoke, Howard Shore. Not really something I want on shuffle.
* Ashes, The Longest Johns. Apparently an original song of theirs about the need for folk music to be alive and growing rather than held in stasis. Interesting piece, I'll keep it around.
* Ashokan Farewell, Dublin Over. This must be from Kat, because I don't recognize the band name and she's the person I know who has Irish music around. Instrumental, violin, my ear thinks I'm catching a hint of the "it may be for years and it may be for ever" from Kathleen Mavourneen but it's definitely not just Kathleen Mavourneen.
* At Last I'm Ready For Christmas, Stan Rogers. Stan Rogers is always a crapshoot whether his original work is going to be the most rollicking thing you ever heard or break your entire heart; this is one of the former. "At last I'm ready for Christmas with nearly two hours to go!"
* At the Sign of the Prancing Pony, Howard Shore. Yeah, not keeping that one either.
* Auld Lang Syne. I have two copies, one from a probably retitled album called "Tour of Ireland" which is distinguished by its accordion instrumentations and the most American-sounding guy you've ever heard perform an assortment of largely Scottish songs, and one from the Indiana a capella group Straight No Chaser who went viral some years back for their Twelve Days of Christmas cover. I really like SNC's style -- it's more complex than I can actually follow but in a way that's not quite overwhelming because it's all vocal noises and nothing is doing the electric-guitar jangle. Neither of these versions can actually pronounce "auld lang syne" though, I'd like to find a Scottish one someday.
* Go Tell Aunt Rhody, Pete Seeger. Like most of my Seeger, this is him leading the audience in a singalong with banjo, very soothing.
* Austin Prison, Johnny Cash. I don't think I've heard this one before. Not sure how I feel about it.
* Ave Maria, Rós Ní Dhubháin and Regina Nathan, from the RTÉ album Faith of Our Fathers 2. Rós Ní Dhubháin has an incredible light coloratura I've never been able to match; Regina Nathan has a more operatic soprano that always sounds to me a tiny bit like she's swallowing the sound. Their voices are very pretty together though. Somehow I've mislaid the other versions of Ave Maria I've had though, the ones by opera tenors? Huh. I thought I had at least one.
* Away From the Roll of the Sea, Frank Patterson. I need to figure out a location I can practice singing again without bothering people; I have too many housemates to just sing in my room, especially since my singing voice is naturally best suited for chantey leading. (I wonder if there are any chantey groups I could get involved with locally? Not as a leader, certainly not initially, but that sounds like something that'd get me out of the house.)
* Away in a Manger, Bing Crosby. This Christmas radio show was... I owe it even more than Frank Patterson for my ability to sing, because Bing encourages the audience to sing along with each carol, so I was hearing from this single source my whole childhood that I *was* allowed to sing and should try it out.
* Away Rio, Wind in the Rigging. I have the group artist denoted as "Wind in the Rigging Shipmates", butsovay found the actual credits list last night -- apparently it is a real album, not a stolen one, with known credits from known people in the New England chantey community, which is very cool.
* Awkward Donald, Tanglefoot. Tanglefoot is a Canadian group whose discographysophia_sol sent me at some point, mostly rollicking Maritime folk-style on (I think) largely modern compositions. I tend to be a little picky about the details of their faux-historical chantey work but they have a lot of very beltable songs, always a positive for me. This one isn't my favorite but I'll be going through a lot more of theirs.
* Baby Beluga, Raffi. We are into the letter B! Huzzah! Baby Beluga is such a fun song also, definitely one of Raffi's most famous for a reason.
* Back Up and Push, Great American String Band. One of many twiddly fiddle instrumentals from this album. Not a ton to distinguish it for my ear but it's not a problem.
* Bad Romance, Lady Gaga. I have Lady Gaga music? That must have come from Kat's collection. I mean I don't object to it, I just have only heard most of it over very bad speakers at Pride, so having it on headphones is an experience. I'm not sure how I feel about it. Oh, this is where the "walk walk fashion baby" meme comes from, or at least a place it appears. It's definitely a bop; I'll probably keep it on rotation for at least a little bit.
* Bag End, Howard Shore. I did not remember Ian Holm singing "The Road Goes Ever On" in the movies, but it's been... I think I last watched any of them when RotK Extended Edition came out so that would be November 2004, so over twenty years. Good lord. I don't feel that old. Might keep this one on my phone? Unsure. The trouble is the tracks are so long and include a bunch of different segments and leitmotifs, so it's not a cohesive listening experience. This one seems to have what I'm used to thinking of as Concerning Hobbits on the back end.
* Ballad of a Teenage Queen, Johnny Cash. The story isn't much but I do love that driving dano bass ostinato that so much of Johnny Cash's work includes.
* Ballad of October 16, Pete Seeger. I adore how so much of Pete Seeger's work is so very topical to a specific moment that I can learn things I never saw in any history book; this song is antiwar from the ramp-up to World War II, before Hitler attacked Russia and the Communist Party (to which Pete at the time belonged) switched to supporting American entry into the war. It goes to the tune of the Ballad of Jesse James and it's a bop like so many of Pete's songs. "Oh, Frankin Roosevelt told the people how he felt / We damn near believed what he said / He said I hate war and so does Eleanor / But we won't be safe till everybody's dead."
* Banks of Marble, Pete Seeger. Perfectly cromulent Pete Seeger activism song.
* Banks of the Ohio, Great American String Band. Ballad about a guy who murders his girlfriend for refusing to marry him; the presentation doesn't really work with it imo? It's done in a soothing choral style without much expression, when it'd work better in maybe a Johnny Cash style with the singer actually putting some emotion into the words.
* Barbara Allen, Great American String Band. Perfectly cromulent vocal and string cover of Barbara Allen.
* Barbara Ann, Beach Boys. You can probably tell exactly when my mother was born by the overlap of Beach Boys and Monkees in my music taste, lol. I don't have as much Beach Boys because, like Johnny Cash, much of it was deemed inappropriate for small right-wing children; maybe I'll look into more of their work someday too, I definitely like their polyphonic style.
* Barge Ballad, The Longest Johns. Thames barge chantey, as one does.
* Barn Dance, Seven Brides for Seven Brothers soundtrack. Is it a particularly good movie? No. Is the music and choreography fantastic? Yes.
* Barn Raising, Seven Brides for Seven Brothers soundtrack. I like Barn Dance slightly better but it's not a big difference.
* Barrett's Privateers, Stan Rogers. I have three versions from three different albums, Home in Halifax, Between the Breaks Live, and Fogarty's Cove. Home in Halifax appears to have a live audience clapping along and no backing music (is it always a cappella? no idea), just the backing vocals; the audio quality is slightly iffy in spots, and at one point the vocalists stop and have the audience sing the refrain, which would work better if it wasn't signaled with "C'mon, you sissies, show you're men!" and also if the audience actually had a mic pointed at them. It does have a cute little closing-out bit. Between the Breaks has much better audio quality, and Fogarty's Cove is studio. I think I like the Between the Breaks version best.
* Bathtime, Raffi. I also have a studio version and a live version of this one; I like the live version better, as I often do.
* Battle Cry of Freedom, Brentwood. Instrumental, perfectly reasonable cover.
I'm going to cut it there because I have an appointment soon. I'm down to 105 hours left (I went through last night and removed a bunch of duplicated files where some albums had gotten double copied for some reason; there are a bunch more duplicates and files I need to compare to find out whether they're different, so the number will probably keep going down faster than I actually listen through everything).
* And a God Descended, Dar Williams. I know there are a few Dar Williams songs in here I definitely want, but most of them are not quite my taste, including this one.
* Andorra, Pete Seeger. This is a fun song based on a newspaper clipping Pete saw once quoting the Andorran national defense budget as the equivalent of $4.90 (for artillery charges for their national anniversary celebration).
* Anduril, Howard Shore. I could *probably* trim this down by cutting out the rest of the LotR soundtrack entries without listening to them but I don't really want to? At least not so far.
* Angels We Have Heard On High, John Barrowman. I appear to have a Christmas album of his for some reason? He's not one of my favorite singers. I think I acquired a bunch of this "why" music from Kat, who kindly let me raid her music collection a couple years back, so there'll be a lot of opinions here lol. Barrowman's version fucks with the pacing of the song in ways I'm not enjoying; somehow it's my only cover of this song but I'm sure I can find a better one somewhere.
* Animal Fair/Frog Went Courtin'/Come to the Zoo, RCA All Time Favorite Children's Songs, this track apparently by the Richard Wolfe Children's Chorus. Wow, I don't have nearly the whole tracklist, huh. It doesn't have the All Through the Night cover I was looking for, but it does have almost everything else that was on what I have labeled as the Yertle mixtape, so that's something I should definitely be able to track down in better quality.
* Annabel, Ye Banished Privateers. Haul-away chantey with a female lead singer and a fun percussion ostinato backing. This probably came from Soph's collection of sea chanteys, like most of my traditional folk pieces.
* Anne Louise, The Longest Johns. Instrumental, twiddly, not displeasing. (I can't tell instrumentals apart if I don't know the lyrics; there are several later on this list with disambiguation subheadings by me as "Only Slightly Slower Instrumental" etc.)
* Another Man Done Gone, Johnny Cash and Anita Carter. Very traditional spiritual style with a cappella call and response.
* Another Mystery, Dar Williams. Upbeat song about getting out and touching grass. Not sure how I feel about it.
* Another National Anthem, Assassins soundtrack. Probably not keeping most of these on my phone.
* Any Old Wind That Blows, Johnny Cash. Aw, I like this one. He's good at saying things that haven't been said a million times before in every song ever written.
* Apache Tears, Johnny Cash. "Apache tears" in geology are little rounded pebbles of translucent obsidian, largely found in the foothills of the Rockies, folklorically said to be the fossilized tears of the Native Americans driven off their land.
* Apples and Bananas, Raffi. My childhood tape of this one got corrupted halfway through the song, so I always slightly expect it to cut off and am surprised when it goes on.
* Are We Dancing, The Happiest Millionaire soundtrack. The Happiest Millionaire was a little-known '60s live-action Disney musical starring Lesley Ann Warren, Fred MacMurray, and Tommy Steele (who for some reason was typecast as comedy Irish characters in the States despite being cockney by birth; I once commissioned a review of a random ten minutes of this movie from I think GL Valentine which produced the amazing sentence "He's three times as Irish as anyone has ever been", which it amuses me to quote to myself in my own thickest Irish accent). It's not *good* per se but the soundtrack is full of bangers. This is one of the weaker entries as far as it doesn't actively earworm me out of nowhere most of the time, but it's still very pretty.
* Are You From Dixie, Great American String Band. Ragtime, mostly instrumental, cannot understand the vast majority of the lyrics but it's fun to listen to anyway because I do enjoy a ragtime beat. Appears to be about a train.
* Are You Lonesome Tonight, Great American String Band. Technically mostly vocal but I don't know who the associated vocalists are. Ballad-ish song pining about an ex. Not really grabbing me.
* Are You Out There, Dar Williams. I have three different versions of this from three different albums, as is the case with a lot of my Dar Williams; I'm not sure if I want any of them.
* Around and Around Old Joe Clark, Pete Seeger. Most of my Pete Seeger tracks are recordings of live performances, with his chatty little intros to each song, and this one talks about how he learned the banjo fingering technique he uses on the song from his younger brother. "And I said, well I talked about that but I never knew how to do it, so I sat down and followed some of the advice I put in my own banjo book and I practiced." I really like his sense of humor and how encouraging he is about music being for everyone. I didn't encounter his work till I was in college and had already started singing a bit but there's a reason I went to the library and copied every CD of his I could get my hands on, once I did run into him (I forget where or how). This one wanders off into Cripple Creek at the end but I haven't decided whether to add that to the title.
* Around the World, The Weavers. My copy of The Weavers at Carnegie Hall is a bit scuffed, but the music is still delightful (and the running joke about Greensleeves cracks me up, the whole album is worth listening to in order although that's almost never how I listen to music). This one is a medley showing how folk dances from various countries fit to the same rhythm.
* Arrival, Dar Williams. At this point I just have a lyrics site open to look up Dar Williams and Elvis mostly. This is a pretty song but again it's not quite grabbing me.
* As Cool As I Am, Dar Williams. I have four different copies of this, why. I think two renditions? I'm not loving either one. It's a perfectly reasonable song, about not letting romantic partners set you against other women by making you jealous, but not really a relatable experience to me and I don't love the music enough to keep it.
* As Long As the Grass Shall Grow, Johnny Cash. The album "Ballads of the American Indian" pulls zero punches, huh. Not like it's a surprise from Johnny Cash but I don't know how many of these I've actually listened to before; they certainly weren't on rotation in the selection of Johnny Cash I grew up on. (Which grew narrower as I got older and my family got more... you'd think radicalized would be the right word but it isn't quite. More uptight, maybe; One Piece At a Time and I've Been Everywhere disappeared from the rotation at some point, for instance.)
* Ash and Smoke, Howard Shore. Not really something I want on shuffle.
* Ashes, The Longest Johns. Apparently an original song of theirs about the need for folk music to be alive and growing rather than held in stasis. Interesting piece, I'll keep it around.
* Ashokan Farewell, Dublin Over. This must be from Kat, because I don't recognize the band name and she's the person I know who has Irish music around. Instrumental, violin, my ear thinks I'm catching a hint of the "it may be for years and it may be for ever" from Kathleen Mavourneen but it's definitely not just Kathleen Mavourneen.
* At Last I'm Ready For Christmas, Stan Rogers. Stan Rogers is always a crapshoot whether his original work is going to be the most rollicking thing you ever heard or break your entire heart; this is one of the former. "At last I'm ready for Christmas with nearly two hours to go!"
* At the Sign of the Prancing Pony, Howard Shore. Yeah, not keeping that one either.
* Auld Lang Syne. I have two copies, one from a probably retitled album called "Tour of Ireland" which is distinguished by its accordion instrumentations and the most American-sounding guy you've ever heard perform an assortment of largely Scottish songs, and one from the Indiana a capella group Straight No Chaser who went viral some years back for their Twelve Days of Christmas cover. I really like SNC's style -- it's more complex than I can actually follow but in a way that's not quite overwhelming because it's all vocal noises and nothing is doing the electric-guitar jangle. Neither of these versions can actually pronounce "auld lang syne" though, I'd like to find a Scottish one someday.
* Go Tell Aunt Rhody, Pete Seeger. Like most of my Seeger, this is him leading the audience in a singalong with banjo, very soothing.
* Austin Prison, Johnny Cash. I don't think I've heard this one before. Not sure how I feel about it.
* Ave Maria, Rós Ní Dhubháin and Regina Nathan, from the RTÉ album Faith of Our Fathers 2. Rós Ní Dhubháin has an incredible light coloratura I've never been able to match; Regina Nathan has a more operatic soprano that always sounds to me a tiny bit like she's swallowing the sound. Their voices are very pretty together though. Somehow I've mislaid the other versions of Ave Maria I've had though, the ones by opera tenors? Huh. I thought I had at least one.
* Away From the Roll of the Sea, Frank Patterson. I need to figure out a location I can practice singing again without bothering people; I have too many housemates to just sing in my room, especially since my singing voice is naturally best suited for chantey leading. (I wonder if there are any chantey groups I could get involved with locally? Not as a leader, certainly not initially, but that sounds like something that'd get me out of the house.)
* Away in a Manger, Bing Crosby. This Christmas radio show was... I owe it even more than Frank Patterson for my ability to sing, because Bing encourages the audience to sing along with each carol, so I was hearing from this single source my whole childhood that I *was* allowed to sing and should try it out.
* Away Rio, Wind in the Rigging. I have the group artist denoted as "Wind in the Rigging Shipmates", but
sovay found the actual credits list last night -- apparently it is a real album, not a stolen one, with known credits from known people in the New England chantey community, which is very cool. * Awkward Donald, Tanglefoot. Tanglefoot is a Canadian group whose discography
sophia_sol sent me at some point, mostly rollicking Maritime folk-style on (I think) largely modern compositions. I tend to be a little picky about the details of their faux-historical chantey work but they have a lot of very beltable songs, always a positive for me. This one isn't my favorite but I'll be going through a lot more of theirs. * Baby Beluga, Raffi. We are into the letter B! Huzzah! Baby Beluga is such a fun song also, definitely one of Raffi's most famous for a reason.
* Back Up and Push, Great American String Band. One of many twiddly fiddle instrumentals from this album. Not a ton to distinguish it for my ear but it's not a problem.
* Bad Romance, Lady Gaga. I have Lady Gaga music? That must have come from Kat's collection. I mean I don't object to it, I just have only heard most of it over very bad speakers at Pride, so having it on headphones is an experience. I'm not sure how I feel about it. Oh, this is where the "walk walk fashion baby" meme comes from, or at least a place it appears. It's definitely a bop; I'll probably keep it on rotation for at least a little bit.
* Bag End, Howard Shore. I did not remember Ian Holm singing "The Road Goes Ever On" in the movies, but it's been... I think I last watched any of them when RotK Extended Edition came out so that would be November 2004, so over twenty years. Good lord. I don't feel that old. Might keep this one on my phone? Unsure. The trouble is the tracks are so long and include a bunch of different segments and leitmotifs, so it's not a cohesive listening experience. This one seems to have what I'm used to thinking of as Concerning Hobbits on the back end.
* Ballad of a Teenage Queen, Johnny Cash. The story isn't much but I do love that driving dano bass ostinato that so much of Johnny Cash's work includes.
* Ballad of October 16, Pete Seeger. I adore how so much of Pete Seeger's work is so very topical to a specific moment that I can learn things I never saw in any history book; this song is antiwar from the ramp-up to World War II, before Hitler attacked Russia and the Communist Party (to which Pete at the time belonged) switched to supporting American entry into the war. It goes to the tune of the Ballad of Jesse James and it's a bop like so many of Pete's songs. "Oh, Frankin Roosevelt told the people how he felt / We damn near believed what he said / He said I hate war and so does Eleanor / But we won't be safe till everybody's dead."
* Banks of Marble, Pete Seeger. Perfectly cromulent Pete Seeger activism song.
* Banks of the Ohio, Great American String Band. Ballad about a guy who murders his girlfriend for refusing to marry him; the presentation doesn't really work with it imo? It's done in a soothing choral style without much expression, when it'd work better in maybe a Johnny Cash style with the singer actually putting some emotion into the words.
* Barbara Allen, Great American String Band. Perfectly cromulent vocal and string cover of Barbara Allen.
* Barbara Ann, Beach Boys. You can probably tell exactly when my mother was born by the overlap of Beach Boys and Monkees in my music taste, lol. I don't have as much Beach Boys because, like Johnny Cash, much of it was deemed inappropriate for small right-wing children; maybe I'll look into more of their work someday too, I definitely like their polyphonic style.
* Barge Ballad, The Longest Johns. Thames barge chantey, as one does.
* Barn Dance, Seven Brides for Seven Brothers soundtrack. Is it a particularly good movie? No. Is the music and choreography fantastic? Yes.
* Barn Raising, Seven Brides for Seven Brothers soundtrack. I like Barn Dance slightly better but it's not a big difference.
* Barrett's Privateers, Stan Rogers. I have three versions from three different albums, Home in Halifax, Between the Breaks Live, and Fogarty's Cove. Home in Halifax appears to have a live audience clapping along and no backing music (is it always a cappella? no idea), just the backing vocals; the audio quality is slightly iffy in spots, and at one point the vocalists stop and have the audience sing the refrain, which would work better if it wasn't signaled with "C'mon, you sissies, show you're men!" and also if the audience actually had a mic pointed at them. It does have a cute little closing-out bit. Between the Breaks has much better audio quality, and Fogarty's Cove is studio. I think I like the Between the Breaks version best.
* Bathtime, Raffi. I also have a studio version and a live version of this one; I like the live version better, as I often do.
* Battle Cry of Freedom, Brentwood. Instrumental, perfectly reasonable cover.
I'm going to cut it there because I have an appointment soon. I'm down to 105 hours left (I went through last night and removed a bunch of duplicated files where some albums had gotten double copied for some reason; there are a bunch more duplicates and files I need to compare to find out whether they're different, so the number will probably keep going down faster than I actually listen through everything).
