Sorry about this, but it’s Brexit again. This post could have been about the failures of Universal Credit. It could have been about the decline of Britain’s high streets, with specific reference to the plans of Warwick District Council for the destruction of Leamington Spa. It could have been about the proposed redundancies at Jaguar LandRover, a move which is going to have a major impact on our town as well as the country. It could have been about Andrew Neil’s extraordinary attack on Owen Jones or the last two columns by Nick Cohen – the one in The Observer demonstrating a disturbing familiarity with spanking literature, and the second, in The Spectator, the magazine for which Andrew Neil bears no responsibility, concluding that Corbyn and Trump are identical. Or it could have been about my plans to set up a shipping company and bid for a government contract. I reckon I could do it for less than £13.8 million, especially if I don’t buy any ships.
 
All these subjects have exercised me during the last couple of weeks. But they all come down to Brexit in the end, right? And with a mere two days of debate in the Commons remaining before the ‘meaningful’ vote on Tuesday, the media is full of it – and, to add an unvoiced fricative, full of shit too.
 
So here’s my two penn’orth.

​I am a Remainer and a Labour voter. As such, I am against even a soft Brexit. ‘Remain and reform’ was and remains my preferred policy. While I respect the result of the referendum, which does not mean that I either agree with it or believe it should be implemented, I do not respect the referendum itself, which was a crass proposal in the first instance and won with a combination of lies, illegal funding and dubious digital media.
 
What did impress me during the referendum was the Leave slogan. “Take Back Control” was and is a good line, and watching Cumberbatch in The Uncivil War the other night, one was surprised at the length of time it took for Dominic Cummings to arrive at it. It’s a nonsense of course, but it means all things to all men and thus appealed, if not to all men and women, at least to 52% of them. It appealed to nostalgic Little Englander Tories in Surrey and austerity-hit working class voters in the north, who had been told by successive governments – from Thatcher onwards – that the EU was the problem.
 
The irony of course is that parliament is now taking back control over the executive, and this is, in no small measure, the result of a precedent-breaking decision by Speaker Bercow.
 
He’s growing on me, is John Bercow. Preening popinjay perhaps, but he is showing himself to be a man who respects parliamentary democracy both in principle and in practice. In the face of the growing power of government, there is not a huge amount he can do, but what he can, he does.
 
One of the revelations of the recent shenanigans in the Commons has been the fact that many parliamentary votes are meaningless, having no force in law. They are, at best, “advisory”, nothing more than a demonstration of feeling.
 
Which is of course exactly what the referendum was. True, promises were made during the course of the campaign. But primarily by those who promptly resigned from positions which might give them any power over such a decision. Where are you now, Dave? 
 
So what will happen on Tuesday and on the 29th of March?

My prediction is that we will find ourselves in, to coin a meme, an existential crisis.

The phrase is widely used, and almost always misused. But it means one thing:

We're fucked.

Today from the everysmith vaults: In these strange times, it's time to dig deep into the depths of the vaults. Today's esoterica is the Captain's Bat Chain Puller.
 

In a House of Lies is Ian Rankin’s 22nd Rebus. He (Rebus) is retired now, has quit smoking and barely drinks. But this is a ‘cold case’, with which Rebus was involved years back, an excuse he uses to infiltrate himself into the investigation. In so doing, he is back with the usual cast of characters: Big Ger Cafferty from the dark side and, representing the forces of ‘good’, DIs Siobhan Clarke and Malcolm Fox. But of course, this being Rankin and Rebus, the distinction between good and evil are rather more nuanced than this simple characterization. Everyone has something to hide, even – especially – Rebus himself. As the story unfolds, we learn what they are hiding and how well it is hidden, with each loose end neatly tied up in knots (and crosses). Masterly.

​Another cold case. Michael Connelly’s Dark Sacred Night brings together Harry Bosch with the more recently created Detective Renée Ballard to look into the brutal murder of 15 year old Daisy Clayton. As a mystery, it’s not really satisfactory: the attention paid early on to character one would expect to be peripheral gives it away. But as a procedural and a study of two characters interlocking and intertwining, it’s excellent. And, at the end, surprise surprise, the two – having both solved cases on the side – agree that they might well work together again. If they do, I’ll be there.

And yet another cold case, the 23rd Reacher novel from Lee Child. In Past Tense, the case in question is the absence of records of the Reacher dynasty in Laconia NH, contrary to family lore. But the paper trail opens up nefarious activities in both past and present. With his own version of Renée Ballard to assist, Reacher continues the more cerebral and caring approach of last year’s The Midnight Line. Which is not to say that fans of old-fashioned Reacher will be disappointed. The closing chapters, set in a New Hampshire killing ground, are as violent, suspenseful and gripping as anything Child has written.

​Finally to Tombland. Who would have thought a novel set in Norwich could be so fascinating?
 
Sansom has taken half a decade to research the latest Shardlake, and it shows. In a good way. His mission from the Lady Elizabeth is to investigate the circumstances of the murder of the wife of one of her distant kinsmen, a Boleyn, and the whodunnit element unfolds in a more than satisfactory manner. But Shardlake being Shardlake, he finds himself at the centre of Kett’s Rebellion, and this and its causes is the real subject of the book. I confess I was unaware of the rebellion which defeated a couple of royal armies and controlled much of Norfolk for a few brief weeks in 1549. But I know a hell of a lot now, thanks to both the novel itself and the historical afterword. It’s a great read, as educational as it is entertaining.
 
Also palliative. Because as I turned the last page of the last book, I realized that my cold had gone.
 
I was cured.

Today from the everysmith vaults: Since 2010, the Dead has been releasing a highlight track on each day of November. These are not just great in themselves, but serve to remind one of hidden gems and forgotten shows. The 2018 is currently two-thirds of the way through, and I am relishing each morning as I download the latest carefully chosen track.

I’m writing this at 4pm on Sunday afternoon, and it’s almost dark. The clocks went back last weekend, ensuring that the first pitch of the final game of the World Series was at midnight our time. And as the euphoria of that victory fades, the prospect of months of short days – “It gets later earlier here” – is depressing. No baseball, no cricket, no Dylan visit to the UK. “Where are the songs of spring? Ay, Where are they? / Think not of them, thou hast thy music too.”
 
Keats is never far from my thoughts, but appeared unprompted and powerfully on Friday evening. Because Autumn’s music in Leamington Spa was provided by the Fitzwilliam Quartet and, in the Mozart Quintet, Sophie Renshaw as second viola.
 
The programme was changed at the last minute, the death of first violin Lucy Russell’s father meaning that there was insufficient time for rehearsals of the Bruckner Quintet. So I still haven’t seen or heard this (apparently) complex piece.
 
But what a treat we had instead. The Fitzbillies dug into a half-century of repertoire to present us with one of the most startling quartets of our time.
 
Reader, we were given Shostakovich’s Opus 138, the Quartet #13 in B flat minor.
 
The Fitzbilly and Shostakovich have form. The European première of the Opus 138 was given by them. The second ever performance, a few days later, was also given by them, and this time with Shostakovich himself in the audience. It was the beginning of what Shostakovich called a “musical friendship”, and Benjamin Britten reported that Shostakovich had told him that the Fitzwilliam was his “preferred performers of my quartets”.
 
I am indebted to the excellent programme notes of Richard Phillips MBE for this stuff; I didn’t know before the Friday interval.
 
What I did know was that Shostakovich’s 13th quartet is a segue from the second movement of the 12th, a performance of which – by the Kodaly – was the last time I heard a Shostakovich played in the Regency grandeur of the Leamington Pump Rooms. In this sense, the experience was akin to hearing the Dead playing a single gig on several successive nights up the East Coast in the ‘70s. But even the Dead never got close to the ferocious atonal screaming of the central section of this dark and scary quartet. Nor did the Dead ever create anything so soulful as those final bars from the viola, climbing higher and higher into silence.
 
It’s less than 20 minutes long. But, played by this quartet, it’s better than any Dark Star > St. Stephen > The Eleven you ever heard.
 
Yes, yes, yes. It’s all part of my autumn almanac.
 
Today from the everysmith vaults: This morning it was the Emerson and the Kodaly versions of #13. This afternoon, I’m returning to More Blood, More Tracks. One could argue that they are as one in their inspiration and theme. But I won't.
 

As the Sox settle in LA, preparing perhaps to emulate the teams of ’04 and ’07 by winning the World Series on the road, European members of the Nation can, for one night only, turn our attention to other pressing issues while we await Game 3 on Friday night (or, rather, Saturday morning).
 
In my case, it is the public meeting at Leamington’s town hall this evening, to protest the Warwick District Council’s decision to sell off its current offices at Riverside and replace them with a new building on the site of the Covent Garden car park.
 
Leamingtonians will not need any exegesis. The Council’s plans have been the subject of much discussion and debate since they were first mooted and the resistance, led by MP Matt Western, has been growing. Matt has called a special debate in Parliament, written to the Secretary of State, and campaigned tirelessly to force a Tory re-think. This evening is the next stage, an opportunity to put the case of the town and its residents in the face of a plan which is projected to cost £8.6 million and will severely damage the viability of the town centre businesses.

​It’s good that Russ Allen, proprietor of one of the oldest established and most respected retail outlets in Leamington, will be on the panel tonight. I look forward to hearing his first hand experience of the changes to our town centre
 
But the arguments against are not solely from the business community. There is also uproar that the planned development of the current offices includes no social or affordable housing, a requirement of the Council’s own planning rules, at a time when some 2,500 families wait for social housing and increasing numbers of homeless sleep rough on our streets.
 
Significantly, the latest newsletter from North Leamington Conservatives does not even mention this.
 
But this omission is not really surprising. A Conservative councillor resigned recently, claiming that the Tory leadership is “a tawdry administration directed by a male-dominated clique of individuals."

"The Executive has believed its spin while being completely out of touch with real people and real life" she said.
 
The last time a public meeting was called the clique was otherwise engaged and unable to attend. Allegedly. It will be interesting to see if they turn up tonight.
 
I will and I’ll bring you up to date tomorrow.
 
 
Today from the everysmith vaults: I’m surprising myself by listening a great deal to Neil Young and enjoying almost every note, particularly those played by Crazy Horse.

“If I get home before daylight / I just might get some sleep tonight.”
 
Every game in the post-season is scheduled to start at 1am UK time, except for tonight in Houston. Which is great news for sleep-deprived Sox fans in the UK, and probably for kids in the States too. (It’s a school night and I know that 8pm ET is prime TV but I wish MLB would give young fans the chance to see whole games.)
 
The best of seven series is tied at one each after an implosion (and some iffy strikes and balls calls at home plate) in Game 1 and a scary end to Game 2. Sale has been in hospital and Price still hasn’t won a post-season game either. But tonight, Nathan Eovaldi takes the mound. And he’s been good.
 
So, too, has the bullpen, especially Matt Barnes and Ryan Brasier. I’m not forgetting Rick Porcello, but I always expect him to do the job. He’s a starter after all and should start in Game 4, which rules him out tonight. The exception of course was Kimbrel, who went through the whole regular season with an ERA of 3.3 something but is currently 10.80 in the post-season.
 
Three appearances. Three runs conceded. Where’s that breaking ball, Craig?
 
We need to win at least one of our three scheduled games in Houston to bring them back to Fenway, and I think tonight could be it. If Eovaldi pitches with anything like the control and variety he showed against the Yankees, and the bullpen continue to be consistent, then we shouldn’t need Kimbrel at all.
 
Assuming the bats continue to swing. They will. I’m looking to Mookie, JD and Rafael Devers to bring the runs home.
 
Mookie is, according to reports, smiling again. JD will want to show Minute Maid Park that he is a better player than they ever saw in an Astros uniform. And you just know that Rafael will relish the chance to make an impact when it matters. He did it in Boston. He can do it in Houston.
 
I think these two teams are the best in baseball right now. I fear that the series will go to the seventh game. I just hope my heart can withstand the tension.
 
But everything is in place. I have told our dinner hosts that I need to be away in good order by 10pm. My Red Sox shirt is laundered and ironed. There is Sam Adams in the fridge. And I confidently expect to be in bed by about 1am with Dirty Water playing in my head.
 
Go Sox!
 
Today from the everysmith vaults: The recent death of Marty Balin has prompted a fest of Airplane shows. Marty’s beautiful voice did not always meld well with the increasingly strident Airplane style towards the end, but he will always be remembered in this household with love and affection for songs such as Coming Back to Me. Listening to a Winterland show (1970-10-04), he shouts out, at the end of Volunteers, “I want a new band!” Sad.
 

​Paweł Pawlikowski won an Oscar (Best Foreign Language Film) for Ida. And this year, he won Best Director for Cold War at the Cannes Film Festival. The latter award has greater resonance in this household and so we embarked on a Google search to find a showing within travelling distance and ended up, yesterday, in Oxford.
 
It is the first week of the Michaelmas term, and the streets and restaurants were crowded with freshers and their proud parents. But Screen 2 of the imposing new Curzon cinema was deserted apart two women of a certain age who whispered throughout the film in what we think was Polish, and probably was, because this film is set primarily in Poland during the Soviet era and it blends the personal and the political, the poetic and the prosaic in a quite mesmerizing manner.
 
Cold War is a musical, a love story and a political chronicle. It takes place over the course of a couple of decades, half a dozen ‘chapters’, and is punctuated throughout by music, which points to the cultural and political changes against which the doomed and destructive love affair takes place, moving inexorably to its conclusion through a series of scenes, spots of time, which illustrate the two hearts, four eyes of the affair and the film.
 
Paris is contrasted with Warsaw; Rock Around the Clock with the faux-folk of the Polish peasantry; the passion of the lovers with the ever-present politics - “I’m ratting on you” she tells him. “Is you or is you ain’t my baby?” asks the soundtrack.
 
The Best Director award is justified by any of so many delights. The ravishing, high contrast black and white. The square format. The meticulous framing.
 
But his greatest triumph is to draw out of his actors extraordinary performances. Tomasz Kot as the chain-smoking musician Wiktor and, particularly, Joanna Kulig as the ‘mountain girl’ Zula are superb in a New Wave kinda way, which is appropriate of course. And as each chapter addresses another spot of time, the suffering, the melancholy, of the intervening years are immediately and powerfully present.

The brevity of each scene, the short span of the movie as a whole (90 minutes), is not merely exquisite. The conciseness, succinctness, is perfection.
 
I doubt I shall see a more beautiful film this year. And certainly nothing more poignant than the dedication, at the end, in lower case out of black, bottom right of the screen: “to my parents”.
 
Today from the everysmith vaults: I’ve been re-syncing about 100GB of shows and the process has thrown up some fascinating stuff which I had forgotten I had and not played for some time. Currently, it’s the sound track from Zabriski Point – some of Jerry’s most inspired noodling.

We saw a crane on Wednesday night. I was watching the Sox Orioles make-up game. We were 15-3 up when I heard Jill scream.
 
“A crane’s just flown past” she shouted. We rushed to a window in time to see this beautiful creature – long of leg and neck - land on a TV aerial and look around, down Clarendon Crescent and across Clarendon Square.
 
Cranes are unusual in the UK. Even rarer in Leamington. We know that there are just 10 breeding pairs of cranes in the UK, in two locations: one to the east, in Norfolk; one to the west in Somerset. So this one was presumably on his or her way from the Scandinavian breeding grounds to Spain, Portugal or Morocco.
 
We also know that, when migrating, they are gregarious, often flying in a massive flock called, variously, a “construction", a “dance", a “sedge", a “siege", or a “swoop" of cranes. So many collective nouns would certainly suggest that, even in the UK, they are more often seen in numbers than individually.
 
But this one was alone, and seemed to be in no hurry. It stood proudly on its perch for about ten minutes before launching itself head first to the south, its neck suddenly longer, its legs straight back, its wing span vast, its under feathers black as pitch.

We watched it out of sight and I returned to the ballgame. We had won 19-3.
 
I am not a subscriber to the Greco-Roman (faux-) science of ornithomancy or, indeed, any other kind of -mancy. I do not believe in augurs, or messages from non-existent gods.
 
But something about this crane – our crane – insists on being symbolic and remaining so in my mind.
 
I find that the augurs claimed a bird flying from left to right, as our crane was, means that we will achieve our goals with ease; that because it is a crane, it has a species-specific meaning also: that we should use all the wisdom at our disposal; and because our crane was gray, it presages peace and contentment.
 
All of which I will take happily. But the image that remains with me from this sighting is of the single individual, divorced from society, but pursuing his goal with commitment and determination, obsession even.
 
It’s the existential moment: Lear on the heath, Ahab on the quarterdeck, our crane on his/her TV aerial, contemplating the thousand miles he has come and the two thousand miles to go.
 
“ … and I just said, ‘good luck’”.
 
 
Today from the everysmith vaults: I’ve been revisiting one of the great years of the Never Ending Tour, 1999. It’s a four seasons year, four different sounds. Of which, having seen some of them, I tend towards the spring in Europe.

We were introduced by a mutual friend. I was a naïve student journalist; he was the recently appointed director of the Child Poverty Action Group.
 
My friend and I had travelled down from Cambridge to the CPAG office so that I could interview Frank Field for a piece in The 1/- Paper. He was generous with his time. We discussed the importance of the work of Brian Abel Smith and the need to transform the CPAG into an effective pressure group, aimed at redressing the failures of the Labour Government of the time.
 
And then he took us for lunch.
 
He regaled us with stories of the left before my time, notably - I recall – the attempt by Gerry Healey (of the Workers’ Revolutionary Party) to run him down outside a meeting at which Frank had challenged Healey’s agenda. The story involved Frank taking cover behind a concrete bollard into which an irate Healey smashed his car. And then, long into the afternoon, he talked quietly and powerfully about his faith. And although I was familiar with the truism that the Labour Party owed more to Methodism than Marx, I wrote later that Frank must be one of the first to come to socialism via High Anglicanism.
 
That day Frank Field was committed, thoughtful, witty, charismatic. As he was also on subsequent occasions, addressing small groups of students at ill-attended meetings (a couple of which I organized), patiently explaining to us that there was much that could be achieved to eradicate poverty even before the revolution!
 
Forty years on, that Frank Field is no longer recognizable. And it’s a source of profound regret to those of us who believed that he was a progressive force.
 
Over the years, I have consistently given him the benefit of my doubt. I have read with detailed attentiveness each new paper, each new policy proposal, looking for evidence to justify my belief that he was a maverick but he was our maverick, that his Anglican social democratic instincts nevertheless made the Labour Party his natural home. I even sought to justify his relationship with Thatcher and his acceptance of an offer to work with Cameron as ploys to further a Labour agenda, to exploit every contradiction etc etc.
 
But today, I can no longer do so.
 
Frank is too intelligent a man to believe the stuff in his resignation note but he said it anyway. Just as an ex-Chief Rabbi must surely know the difference between Jewish and Zionist, so Frank must surely know that the party he has represented in parliament since 1979 is not racist or anti-semitic and nor is its leader. To argue that the the bizarre statement by Sachs is the reason he has resigned is the ‘last straw’ for me and, I suspect, for thousands of members and supporters who, regardless of their position on the political spectrum, acknowledged his right to independent thought and action.
 
Throughout his career, Frank has been a member of a legitimate tendency within the Labour Party. It is not a tendency to which I subscribe, but I also prefer to watch the parking meters and I recognize that it has a long and valid tradition.
 
Trouble is, it is this very tradition which Frank is undermining. Oy vey.

Today from the everysmith vaults: My birthday album, Highway 61 Revisited. (the mono recording obviously.) Probably my favourite of the extraordinary 60s triptych anyway. Released on 30 August 1965, it emerges from the vaults both regularly and frequently.

Jerry was irreplaceable. We can all agree at least on that. Even the ‘core four’ of those that remained were at one on this point.
 
But that’s the full extent of their unanimity after 9 August 1995 according to a new book by Joel Selvin, the ‘veteran’ San Francisco-based rock journalist, probably the only such who claims not to be a Deadhead.
 
Fare Thee Well: The Final Chapter of the Grateful Dead’s Long, Strange Trip is not an easy read. It records the Machiavellian intrigues which beset the band as they struggled, individually and collectively, to come to terms with the death of Jerry Garcia and find a role for themselves. For any Deadhead, it makes uncomfortable and disconcerting reading as it digs up a succession of skeletons in the closet.
 
At the heart of the book, and allegedly at the centre of the machinations, is Phil – and Jill - Lesh. Selvin has said that “It turned out that Phil and his wife were Macbeth and Lady Macbeth” and that “power went to their heads”. It certainly appears that way in this version of the story, and Dennis Mcnally has agreed that it is 99% accurate. But Phil and Jill did not give interviews and nor did Bill Kreutzmann, so reports of their motives and behaviour are at best partial and at worst prejudiced.  (Selvin and Lesh have form.)
 
Most of the power plays took place in private, but, as Deadheads, we knew there was something going on. The conflicts were evident on stage and in the press. Mickey Hart was reported as saying that Phil, the recipient of a donor liver, “maybe got the liver of an asshole”. Phil scheduled a show a few miles from a previously announced gig by the other three, forcing Deadheads to decide between the two rival bands. (The result was 50-50.) When they did play together, there were musical differences and backstage rows as Phil called the shots that others didn’t want, and granted himself vocals on songs that were traditionally Weir’s territory.
 
Personally, I think that the best of the post-Jerry music was produced by Phil & Friends. I loved the idea of treating the music as repertoire, to be played by virtuosi such as Larry Campbell and Tray Anastasia, rather than Jerry mimics, however brilliant, like John Kadlicik. Although of course Phil then went on to recruit Kadlicik! And I saw Ratdog, Bob Weir’s band, with Mark Karan, and also without a lead guitar at all, and loved both. But then I would, wouldn’t I?
 
Selvin’s book has a happy ending. In Chicago. With all surviving members of the Dead on stage for a run of shows that provided the band and the audience with resolution and reconciliation. It’s not the end – Dead & Co (with Weir, Hart and Kreutzmann) are on the road as I write and rumoured to arrive in Europe this fall. Phil is, most nights, at Terrapin Crossroads, the club owned by him and Jill.
 
So despite everything, the music never stopped. And despite everything, in this household, never will. 

Today from the everysmith vaults: Not as you may think anything by Further, The Dead, Ratdog, Phil & Friends, Dead & Co, The Other Ones or any of the various manifestations of the post-Jerry Dead. Instead, a great duo called Wet Tuna (yes, Wet): their new album, Living the Die, and a Detroit show with a wonderfully spacey I Know You Rider jam.

I’m not sure how many of us remember the tales of Jennings and Darbishire, written by Anthony Buckeridge in the last century. I read them, or at least the first few, in the ‘50s, enchanted by, and jealous of, the idealized version of my own prep school.
 
A large part of the appeal of the stories was the wordplay and jokes, and I remember one to this day. Jennings has a pet rat, which he keeps in a shoe box as I recall. He is discussing the rat with his amiable housemaster – Mr Carter? – and tells him, “I call it Gloucestershire, sir, because it’s got a long tail.”
 
If you are not smiling, I should explain that, in the cricket county championship of that year, Gloucestershire was noted for its poor batting. Batsmen 5, 6, 7, 8, 9, 10 and 11 were incapable of reaching double figures and this was known, in cricketing parlance, as a “long tail”.
 
Don’t worry if you don’t get it; I haven’t heard the expression in years. But my point is that, back in 1957, I and all my fellow 8 year old chums did get it, just as we also got Buckeridge’s Latin puns! Cricket was part of our lives. We knew the scores each day; we knew who was top of the championship, and who was top of the averages.
 
I don’t know any of these today. The county scoreboards are not easily come by. Most of the time, one is not even aware that games are being played. There is no structure to the season. A four day county game or two is followed by a random assortment of one day games, one night games, and day-night games. And we are told that, next year, we shall have yet another competition of 10 overs of 10 balls. Or something like that anyway.

Even the test series is being subjected to the same cavalier treatment of the schedule. Starting today is the second test. And then, nothing until August – apart from ODIs. It’s madness. 

Matthew Engel, once the editor of Wisden, the cricketing bible, wrote recently about this lack of a season-long narrative, attributing his falling out of love with cricket to this vandalism. He used a religious metaphor: he still believes, but no longer attends church with any regularity or enjoyment. And he contrasts cricket with baseball, referring to his daily check on the box scores from St Louis (unaccountably he is a Cardinals fan) and wondering whether next year’s proposed two game series between the Sox and the Yankees may remind English sports fans of what they have lost, certainly what they are missing.
 
I suspect it will. Like Engel, I have embraced the game of baseball. And although I am currently listening to Test Match Special from Headingley, and although I managed a day the Oval test last year, it is baseball that keeps my summer on the daily straight and narrow.

The prospect of rain at Headingley could well England’s best chance of avoiding defeat in the test match.
 
But whatever happens, I fear that English cricket is already facing an innings defeat.
 
 
Today from the everysmith vaults: Been listening to the Dead’s run at the Warfield in October 1980. Not my favourite period by any means, but these are very good shows and the work of the digital engineers has worked wonders with some iffy SBDs and audience recordings. Also, on the 11th, John Cippolina makes a guest appearance.