Рипалось хз на чём. Впрочем как и записывалось. :lol: Грязный такой звук, но в этом изюминка. Если бы звук был немного лучше, то альбом бы не привлёк моё внимание. Представьте американскую глубинку, сплошные Редники... Играют они в основном кантри. А тут вдруг решили на тех же инструментах сыграть блюз. Старые тазики. Стиральная доска. Грязная гармошка от деда. Битые тарелки. Доярка Машка. Всё используется для записи. Причём кто на чём играет не поймёшь, пускают по кругу... Решил я сначала это дело на хорошей техники у друга записать, но после прослушки, понял что всё это ни к чему не приведёт. Конвертнул это дело в 16/44.1 и всё...
Обложки сейчас сканирую. Там даже Редники свой рецепт запеканки вложили. Надо будет попробовать как-нибудь! :laugh:

You wouldn't expect this related three-piece to originate north of the Mason-Dixon line, specifically the wilds of Indiana. The trio specializes in stripped down acoustic folk-blues with bits of bluegrass, swamp rock, and twisted folk, all propelled by guitarist Peyton's unhinged vocals and madly strummed guitar. Imagine a combination of the Violent Femmes' ferocity and Southern Culture on the Skids' frantic dirt track mojo, remove electricity and rock from the equation and you're close to this family act's untamed approach. Any threesome with more percussion than guitar (Peyton's wife plays washboard, his brother beats on what seems like pots and pans, but is credited with drums) and no bass, is going to push rhythm to the forefront, but Peyton's bashing guitar style and slide technique steal the spotlight. As you might imagine, the band's lyrics reflect the primitive attack with tunes such as "Your Cousin's on COPS," "Mama's Fried Potatoes," and "Wal-Mart Killed the Country Store" (so much for the album being sold by the country's largest retailer) typical of the low rent aesthetic. Regardless, some selections deal with serious, topical issues such as "The Creeks Are All Bad" (water pollution), "Them Days Are Gone" (poverty), and "Can't Pay the Bill" (the high cost of medical expenses). Rev. Peyton sings and plays like his trousers are on fire and his backing twosome responds in kind. The songs start sounding melodically similar as the program continues, but at a relatively modest 40 minutes, nothing is overdone or needlessly extended. Jon Langford's (Mekons, the Three Johns) distinctive folk cover art perfectly reflects the raw, raucous, frisky backwoods sensibility at work here.