

Must've Been High - 1.3MB .WAV or RealAudio Dead in the Water - 1.3MB .WAV or RealAudio Barricade roamin' 'round Hungover Together - 1.5MB .WAV or RealAudio Non-Addictive Marijuana The Captain	..	Blow You Away Roadworn and Weary Hangin' Out With Me Juicy Pureballs One Cigarette Away Hangliders

. RENALDO ALLEGRÉ ----- electric & acoustic guitar, vocals EDDIE SPAGHETTI ----- vocals, bass, acoustic guitar DAN "THUNDER" BOLTON ----- electric guitar DANCING EAGLE ----- drums & cymbals . KELLEY DEAL - vocals on "Hungover Together" BRIAN THOMAS - pedal steel, lap steel, dobro, banjo MICKEY RAPHAEL - harmonica, echo harp, barritone harp BRANTLEY KERNS - fiddle, mandolin JESSE DAYTON - barritone guitar, acoustic guitar solo on "One Cigarette Away" Background vocals on "Must've Been High" phoned in from The Honeysuckle Rose II Produced & mixed by RANDALL JAMAIL Recording Engineer JOHN DUNLEAVY Engineering Assistants FLOYD REITSMA & DAVID FISHER Recorded at IRONWOOD STUDIOS, SEATTLE, WASH Mixing Engineer LARRY GREENHILL Mixing Assistant STEVE CHADIE Mixed at PEDERNALES RECORDING STUDIOS, SPICEWOOD, TEXAS Mastered by BERNIE GRUNDMAN MASTERING, HOLLYWOOD, CALIFORNIA Front cover illustration by WHITING TENNIS Design by KENNETH SHERWOOD Guitar Maniacs in Tacoma, Baggins, Julianne Andersen, Bill "The Long Arm of the Law" Berrol, Doug Niman for counting the beans, Freddy & Lisa Fletcher for the cart and clubs, Bongo the Magic Dog, and the Pedernales crickets for chirping right in time.
This is a "New Orthophonic" High Fidelity recording, designed for the player of today or tomorrow. Played on your present machine, it gives you the finest quality of reproduction. Played on a "Stereophonic" machine, it gives even more brilliant true-to-life fidelity. You can buy today, without fear of obsolescence in the future. This particular recording remained in the analog until it was mastered for Compact Disc. Ten microphones were used to record the entire album, all Neumann tube microphones (U67, U47 and U149) except for a pair of Neumann stereo condensor microphones used as overhead mics on the drums. All of the effects that you hear on this record were created with live chambers, plate reverbs and analog tape slap delay. The total frequency range of this record is not within the range of the human ear. It is included in the mastering because of the feeling that this upper and lower range of frequency responses provided the listener with a certain warmth of tone and gives the recording a more lush sound. The wide range and fine technical features incorporated in this record will be most fully realized on playback equipment of extreme high fidelity.