Corky's Debt to His Father - Revision history

Dotclub: /* Texas Revolution */

2025-01-08T22:09:33Z

Texas Revolution

← Older revision		Revision as of 15:09, 8 January 2025
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	<gallery mode="packed">		<gallery mode="packed">
	File:Corky-Saddlesore-Stone-ad.jpeg\|Ad in ''Rolling Stone'', January 7, 1971		File:Corky-Saddlesore-Stone-ad.jpeg\|Ad in ''Rolling Stone'', January 7, 1971
	File:Not-Fade-Away-02-Corky-ad.jpeg\|Ad in ''Not Fade Away'' Vol.1 No.2, 1977		File:Not-Fade-Away-02-Corky-ad.jpeg\|Ad in ''Not Fade Away'' Vol.1 No.2, 1977<ref>https://www.instagram.com/p/BJ6ENv8Ax1M/</ref>
	</gallery>		</gallery>

Dotclub: /* Texas Revolution */

2025-01-08T22:08:23Z

Texas Revolution

← Older revision		Revision as of 15:08, 8 January 2025
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	<gallery mode="packed">		<gallery mode="packed">
	File:Corky-Saddlesore-Stone-ad.jpeg\|Ad in ''Rolling Stone'', January 7, 1971		File:Corky-Saddlesore-Stone-ad.jpeg\|Ad in ''Rolling Stone'', January 7, 1971
			File:Not-Fade-Away-02-Corky-ad.jpeg\|Ad in ''Not Fade Away'' Vol.1 No.2, 1977
	</gallery>		</gallery>

Dotclub at 05:47, 8 July 2024

2024-07-08T05:47:40Z

← Older revision		Revision as of 22:47, 7 July 2024
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	* Recording began in February 1970		* Recording began in February 1970
	* Released mail-order only in 1970 by [[Texas Revolution]]		* Released mail-order only in 1970 by [[Texas Revolution]]
			* Album release show at Of Our Own in Houston (note: the venue opened in August 1970<ref>https://archive.org/details/spacecity02spac_4/page/n23/mode/2up?q=%22of+our+own%22</ref>)
	* Side of the sleeve says "Corky's Cigar"		* Side of the sleeve says "Corky's Cigar"
	* Instrumental B-side outtake: [[Woof]]		* Instrumental B-side outtake: [[Woof]]
	* Released a single as in January 1971 as [[Saddlesore]]: [[Old Tom Clark (single)\|Old Tom Clark]]		* Released a single as in January 1971 as [[Saddlesore]]: [[Old Tom Clark (single)\|''Old Tom Clark'']]
	* Reissued in the 80s by [[Glass Records]]		* Reissued in the 80s by [[Glass Records]]
	* Reissued in 1994 by [[Drag City]]		* Reissued in 1994 by [[Drag City]]

Dotclub: /* Mayo Thompson & The Corky Band */

2023-12-05T01:09:45Z

Mayo Thompson & The Corky Band

← Older revision		Revision as of 18:09, 4 December 2023
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	\|CA		\|CA
	\|Zebulon		\|Zebulon
			\|-
			\|{{flagdeco\|1=US}}
			\|[[File:Shows-2023-12-02-promo1.jpg\|center\|frameless\|22x22px]]
			\|[[Shows/2023-12-02\|December 2, 2023]]
			\|New York City
			\|NY
			\|Le Poisson Rouge
	\|}		\|}

Dotclub: /* Retrospectives */

2023-10-31T20:06:18Z

Retrospectives

← Older revision		Revision as of 13:06, 31 October 2023
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	== Retrospectives ==		== Retrospectives ==
	[[Mayo Thompson]], 2023<ref>https://www.psychedelicbabymag.com/2023/10/red-krayola-interview-mayo-thompson.html</ref><blockquote>Personal—yes. It’s a solo album—unlike in the Crayola, where “I” is tropic. On 'Corky’s Debt To His Father' "I" is not meant indexically. After '[[God Bless the Red Krayola and All Who Sail With It\|God Bless The Red Krayola And All Who Sail With It]]' tanked I left the label [<nowiki/>[[International Artists]]] again, having decided to try my hand without a band. Again Frank Davis and Walt Andrus figure, and Roger “Rock” Romano, one of Houston’s most accomplished and versatile players. Rock and I knew each other from college. He was working at Walt’s. He, Frank and I drafted players from different bands—all dab hands. We took our time—working not every day. It gave us time to think. It took three months. Walt had started a label—[[Texas Revolution]]—and 'Corky’s Debt To His Father' was to be the first product.</blockquote>[[Mayo Thompson]], 2015<ref>https://bombmagazine.org/articles/mayo-thompson/</ref><blockquote>''Corky'' is a portrait of me. It shaped up battling clichés, genres that are like black holes which swallow my novel solutions to the same problems everybody has, while recognizing there is no escape, only twisting the familiar to my ends, insisting on my take on them, presenting my ideas effectively via negativa. That record was made post-Crayola/[[International Artists]], with [[Frank Davis]] and Roger “Rock” Romano producing. I met Frank hanging out at the Jester Lounge—a Houston folk venue. Rock I knew from college. He’s a great dude, a tower of Houston musical power from the start.</blockquote>Roger "Rock" Romano, 2017<ref>https://scholarship.rice.edu/bitstream/handle/1911/103222/wrc08974_transcript.pdf?sequence=8&isAllowed=y</ref><blockquote>I loved workin' with Mayo [...] I co-produced [Corky's Debt to His Father] with him and Frank Davis, and it's, it's a legendary cult album now [...] that was one of the great things that I got to do as a producer, at Andrus, and of course when we finished it, Frank took it up to the people that we knew at Uni and they looked at this, and they said, man, we can't do anything with this [...] so we just got it pushed back in our face and Walter released it on his own label, and they only probably printed a thousand copies, and I'm one of the few people that has one. Actually, it was [...] redone later on. Mayo brought me some redone copies and instead of [[Texas Revolution\|Texas Revolution Records]], it was done on [[Drag City\|Drag City Revolution Records]]. They even made a special label for it, imitating the original label.</blockquote>[[Mayo Thompson]], 1996<ref>http://www.richieunterberger.com/mayo.html</ref><blockquote>Walt Andrus was head of the best studio in Houston, and in that particular period, he recorded everybody [...] The technical level came out of traditional recordings of all kinds of regular kinds of music. [...]		[[Mayo Thompson]], 2023<ref>https://www.psychedelicbabymag.com/2023/10/red-krayola-interview-mayo-thompson.html</ref><blockquote>Personal—yes. It’s a solo album—unlike in the Crayola, where “I” is tropic. On 'Corky’s Debt To His Father' "I" is not meant indexically. After '[[God Bless the Red Krayola and All Who Sail With It\|God Bless The Red Krayola And All Who Sail With It]]' tanked I left the label [<nowiki/>[[International Artists]]] again, having decided to try my hand without a band. Again Frank Davis and Walt Andrus figure, and Roger “Rock” Romano, one of Houston’s most accomplished and versatile players. Rock and I knew each other from college. He was working at Walt’s. He, Frank and I drafted players from different bands—all dab hands. We took our time—working not every day. It gave us time to think. It took three months. Walt had started a label—[[Texas Revolution]]—and 'Corky’s Debt To His Father' was to be the first product.

			Walt’s partners hated it. That wasn’t an uncommon reaction. A friend living in a commune told me how he would get stuff thrown at him if he tried to put it on. As Joe Dugan said, "Mayo’s voice is an acquired taste." Only some hundreds were pressed. Some sold via mail orders. No release. It sat on the shelf until Dave Barker released it in England in the ‘80s. [[Drag City]] has released it here. These days The Corky Band and I perform the songs occasionally. Appreciation has appreciated over time.</blockquote>[[Mayo Thompson]], 2015<ref>https://bombmagazine.org/articles/mayo-thompson/</ref><blockquote>''Corky'' is a portrait of me. It shaped up battling clichés, genres that are like black holes which swallow my novel solutions to the same problems everybody has, while recognizing there is no escape, only twisting the familiar to my ends, insisting on my take on them, presenting my ideas effectively via negativa. That record was made post-Crayola/[[International Artists]], with [[Frank Davis]] and Roger “Rock” Romano producing. I met Frank hanging out at the Jester Lounge—a Houston folk venue. Rock I knew from college. He’s a great dude, a tower of Houston musical power from the start.</blockquote>Roger "Rock" Romano, 2017<ref>https://scholarship.rice.edu/bitstream/handle/1911/103222/wrc08974_transcript.pdf?sequence=8&isAllowed=y</ref><blockquote>I loved workin' with Mayo [...] I co-produced [Corky's Debt to His Father] with him and Frank Davis, and it's, it's a legendary cult album now [...] that was one of the great things that I got to do as a producer, at Andrus, and of course when we finished it, Frank took it up to the people that we knew at Uni and they looked at this, and they said, man, we can't do anything with this [...] so we just got it pushed back in our face and Walter released it on his own label, and they only probably printed a thousand copies, and I'm one of the few people that has one. Actually, it was [...] redone later on. Mayo brought me some redone copies and instead of [[Texas Revolution\|Texas Revolution Records]], it was done on [[Drag City\|Drag City Revolution Records]]. They even made a special label for it, imitating the original label.</blockquote>[[Mayo Thompson]], 1996<ref>http://www.richieunterberger.com/mayo.html</ref><blockquote>Walt Andrus was head of the best studio in Houston, and in that particular period, he recorded everybody [...] The technical level came out of traditional recordings of all kinds of regular kinds of music. [...]

	Pop music has changed, obviously, with punk, completely. But at the time that I made the solo album, it was Walt Andrus' own label. He had a lot of money which he had gotten to start a label [...] He was partners with a couple lawyers in Southern California who had gotten some money to do a blues reissue from somebody and blah blah blah, and there was this kind of money, so we were able to make this record. And he was like a few weeks short of really having it all together, [[Texas Revolution]] being really together. And then the whole partnership collapsed and fell apart for some reason. And the dream ended. But that would have been a really...that was going to be an interesting project, because Walt Andrus and [[Frank Davis]], he was also an early hero of mine, a real legend in Houston, a great musician.		Pop music has changed, obviously, with punk, completely. But at the time that I made the solo album, it was Walt Andrus' own label. He had a lot of money which he had gotten to start a label [...] He was partners with a couple lawyers in Southern California who had gotten some money to do a blues reissue from somebody and blah blah blah, and there was this kind of money, so we were able to make this record. And he was like a few weeks short of really having it all together, [[Texas Revolution]] being really together. And then the whole partnership collapsed and fell apart for some reason. And the dream ended. But that would have been a really...that was going to be an interesting project, because Walt Andrus and [[Frank Davis]], he was also an early hero of mine, a real legend in Houston, a great musician.
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	[...] it does have a different character from the Red Krayola material. I would say that is largely informed by the fact that the musicians were all from elsewhere. They were not players that I had worked with. People I knew, but I didn't work with them before, from other kinds of bands and stuff like that. Also, the material was very personal, the lyrics were very personal, whereas the Red Krayola was seldom personal. [...]		[...] it does have a different character from the Red Krayola material. I would say that is largely informed by the fact that the musicians were all from elsewhere. They were not players that I had worked with. People I knew, but I didn't work with them before, from other kinds of bands and stuff like that. Also, the material was very personal, the lyrics were very personal, whereas the Red Krayola was seldom personal. [...]

	The period of the complete failure of the solo ~~record--when~~ I found out that ~~people--I~~ had a friend who lived in a commune in New Mexico, and he'd get up and put that record on and people would throw things at ~~him--~~"Don't put that goddamn record on again!" They hated it. They just didn't want to hear this stuff. And I thought, I wonder why? So I delved more deeply into one of our original thoughts about music. It was original to us, it was one of the origins for our impulse, which was that music is instrumental, in the sense that it's a form in which you can say various things and do various things. Those formal characteristics of music have their own weight and gravity. What you do is you balance them against the other kinds of things that you want to put into them as a carrier or some kind of support structure, if you like.</blockquote>		The period of the complete failure of the solo record—when I found out that people—I had a friend who lived in a commune in New Mexico, and he'd get up and put that record on and people would throw things at him—"Don't put that goddamn record on again!" They hated it. They just didn't want to hear this stuff. And I thought, I wonder why? So I delved more deeply into one of our original thoughts about music. It was original to us, it was one of the origins for our impulse, which was that music is instrumental, in the sense that it's a form in which you can say various things and do various things. Those formal characteristics of music have their own weight and gravity. What you do is you balance them against the other kinds of things that you want to put into them as a carrier or some kind of support structure, if you like.</blockquote>
	== Reviews ==		== Reviews ==

Dotclub: /* Retrospectives */

2023-10-31T20:04:40Z

Retrospectives

← Older revision		Revision as of 13:04, 31 October 2023
Line 143:		Line 143:

	== Retrospectives ==		== Retrospectives ==
	[[Mayo Thompson]], 1996<ref>http://www.richieunterberger.com/mayo.html</ref><blockquote>Walt Andrus was head of the best studio in Houston, and in that particular period, he recorded everybody [...] The technical level came out of traditional recordings of all kinds of regular kinds of music. [...]		[[Mayo Thompson]], 2023<ref>https://www.psychedelicbabymag.com/2023/10/red-krayola-interview-mayo-thompson.html</ref><blockquote>Personal—yes. It’s a solo album—unlike in the Crayola, where “I” is tropic. On 'Corky’s Debt To His Father' "I" is not meant indexically. After '[[God Bless the Red Krayola and All Who Sail With It\|God Bless The Red Krayola And All Who Sail With It]]' tanked I left the label [<nowiki/>[[International Artists]]] again, having decided to try my hand without a band. Again Frank Davis and Walt Andrus figure, and Roger “Rock” Romano, one of Houston’s most accomplished and versatile players. Rock and I knew each other from college. He was working at Walt’s. He, Frank and I drafted players from different bands—all dab hands. We took our time—working not every day. It gave us time to think. It took three months. Walt had started a label—[[Texas Revolution]]—and 'Corky’s Debt To His Father' was to be the first product.</blockquote>[[Mayo Thompson]], 2015<ref>https://bombmagazine.org/articles/mayo-thompson/</ref><blockquote>''Corky'' is a portrait of me. It shaped up battling clichés, genres that are like black holes which swallow my novel solutions to the same problems everybody has, while recognizing there is no escape, only twisting the familiar to my ends, insisting on my take on them, presenting my ideas effectively via negativa. That record was made post-Crayola/[[International Artists]], with [[Frank Davis]] and Roger “Rock” Romano producing. I met Frank hanging out at the Jester Lounge—a Houston folk venue. Rock I knew from college. He’s a great dude, a tower of Houston musical power from the start.</blockquote>Roger "Rock" Romano, 2017<ref>https://scholarship.rice.edu/bitstream/handle/1911/103222/wrc08974_transcript.pdf?sequence=8&isAllowed=y</ref><blockquote>I loved workin' with Mayo [...] I co-produced [Corky's Debt to His Father] with him and Frank Davis, and it's, it's a legendary cult album now [...] that was one of the great things that I got to do as a producer, at Andrus, and of course when we finished it, Frank took it up to the people that we knew at Uni and they looked at this, and they said, man, we can't do anything with this [...] so we just got it pushed back in our face and Walter released it on his own label, and they only probably printed a thousand copies, and I'm one of the few people that has one. Actually, it was [...] redone later on. Mayo brought me some redone copies and instead of [[Texas Revolution\|Texas Revolution Records]], it was done on [[Drag City\|Drag City Revolution Records]]. They even made a special label for it, imitating the original label.</blockquote>[[Mayo Thompson]], 1996<ref>http://www.richieunterberger.com/mayo.html</ref><blockquote>Walt Andrus was head of the best studio in Houston, and in that particular period, he recorded everybody [...] The technical level came out of traditional recordings of all kinds of regular kinds of music. [...]

	Pop music has changed, obviously, with punk, completely. But at the time that I made the solo album, it was Walt Andrus' own label. He had a lot of money which he had gotten to start a label [...] He was partners with a couple lawyers in Southern California who had gotten some money to do a blues reissue from somebody and blah blah blah, and there was this kind of money, so we were able to make this record. And he was like a few weeks short of really having it all together, [[Texas Revolution]] being really together. And then the whole partnership collapsed and fell apart for some reason. And the dream ended. But that would have been a really...that was going to be an interesting project, because Walt Andrus and [[Frank Davis]], he was also an early hero of mine, a real legend in Houston, a great musician.		Pop music has changed, obviously, with punk, completely. But at the time that I made the solo album, it was Walt Andrus' own label. He had a lot of money which he had gotten to start a label [...] He was partners with a couple lawyers in Southern California who had gotten some money to do a blues reissue from somebody and blah blah blah, and there was this kind of money, so we were able to make this record. And he was like a few weeks short of really having it all together, [[Texas Revolution]] being really together. And then the whole partnership collapsed and fell apart for some reason. And the dream ended. But that would have been a really...that was going to be an interesting project, because Walt Andrus and [[Frank Davis]], he was also an early hero of mine, a real legend in Houston, a great musician.
Line 149:		Line 149:
	[...] it does have a different character from the Red Krayola material. I would say that is largely informed by the fact that the musicians were all from elsewhere. They were not players that I had worked with. People I knew, but I didn't work with them before, from other kinds of bands and stuff like that. Also, the material was very personal, the lyrics were very personal, whereas the Red Krayola was seldom personal. [...]		[...] it does have a different character from the Red Krayola material. I would say that is largely informed by the fact that the musicians were all from elsewhere. They were not players that I had worked with. People I knew, but I didn't work with them before, from other kinds of bands and stuff like that. Also, the material was very personal, the lyrics were very personal, whereas the Red Krayola was seldom personal. [...]

	The period of the complete failure of the solo record--when I found out that people--I had a friend who lived in a commune in New Mexico, and he'd get up and put that record on and people would throw things at him--"Don't put that goddamn record on again!" They hated it. They just didn't want to hear this stuff. And I thought, I wonder why? So I delved more deeply into one of our original thoughts about music. It was original to us, it was one of the origins for our impulse, which was that music is instrumental, in the sense that it's a form in which you can say various things and do various things. Those formal characteristics of music have their own weight and gravity. What you do is you balance them against the other kinds of things that you want to put into them as a carrier or some kind of support structure, if you like.</blockquote>[[Mayo Thompson]], 2015<ref>https://bombmagazine.org/articles/mayo-thompson/</ref><blockquote>''Corky'' is a portrait of me. It shaped up battling clichés, genres that are like black holes which swallow my novel solutions to the same problems everybody has, while recognizing there is no escape, only twisting the familiar to my ends, insisting on my take on them, presenting my ideas effectively via negativa. That record was made post-Crayola/[[International Artists]], with [[Frank Davis]] and [[Rock Romano\|Roger “Rock” Romano]] producing. I met Frank hanging out at the Jester Lounge—a Houston folk venue. Rock I knew from college. He’s a great dude, a tower of Houston musical power from the start.</blockquote>[[Rock Romano]], 2017<ref>https://scholarship.rice.edu/bitstream/handle/1911/103222/wrc08974_transcript.pdf?sequence=8&isAllowed=y</ref><blockquote>I loved workin' with Mayo [...] I co-produced [Corky's Debt to His Father] with him and Frank Davis, and it's, it's a legendary cult album now [...] that was one of the great things that I got to do as a producer, at Andrus, and of course when we finished it, Frank took it up to the people that we knew at Uni and they looked at this, and they said, man, we can't do anything with this [...] so we just got it pushed back in our face and Walter released it on his own label, and they only probably printed a thousand copies, and I'm one of the few people that has one. Actually, it was [...] redone later on. Mayo brought me some redone copies and instead of Texas Revolution Records, it was done on Drag City Revolution Records. They even made a special label for it, imitating the original label.</blockquote>		The period of the complete failure of the solo record--when I found out that people--I had a friend who lived in a commune in New Mexico, and he'd get up and put that record on and people would throw things at him--"Don't put that goddamn record on again!" They hated it. They just didn't want to hear this stuff. And I thought, I wonder why? So I delved more deeply into one of our original thoughts about music. It was original to us, it was one of the origins for our impulse, which was that music is instrumental, in the sense that it's a form in which you can say various things and do various things. Those formal characteristics of music have their own weight and gravity. What you do is you balance them against the other kinds of things that you want to put into them as a carrier or some kind of support structure, if you like.</blockquote>

	== Reviews ==		== Reviews ==

Dotclub: /* Reviews */

2023-10-01T08:26:56Z

Reviews

← Older revision		Revision as of 01:26, 1 October 2023
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	===The Trouser Press guide to '90s rock===		===The Trouser Press guide to '90s rock===
	1997<ref>https://archive.org/details/trouserpressguid00robb_1/page/597/mode/1up</ref><blockquote>In 1970, Thompson actually did record a solo album, Corky's Debt to His Father, which got an obscure local-label issue at the time in Texas, was revived in England years later and was finally introduced to American CD racks through the good offices of [[Drag City]]. A left-field version of a blues and neo-vaudeville album — played mostly acoustic on slide guitar, piano, bass and elementary traps, with some horns and electricity — Corky's Debt doesn't sound much closer to any mainstream in 1995 than it would have done a quarter-century earlier. The fairly titled "[[Good Brisk Blues]]" might have come from a Dylan bootleg, and "[[Venus in the Morning]]" does suggest a functional knowledge of barrelhouse music, but the lyrics ("they cover her politely from all indelicate eyes") are from a completely different realm. A self-conscious embrace of abnormality in all its glorious dislocation.</blockquote>		1997<ref>https://archive.org/details/trouserpressguid00robb_1/page/597/mode/1up</ref><blockquote>In 1970, Thompson actually did record a solo album, Corky's Debt to His Father, which got an obscure local-label issue at the time in Texas, was revived in England years later and was finally introduced to American CD racks through the good offices of [[Drag City]]. A left-field version of a blues and neo-vaudeville album — played mostly acoustic on slide guitar, piano, bass and elementary traps, with some horns and electricity — Corky's Debt doesn't sound much closer to any mainstream in 1995 than it would have done a quarter-century earlier. The fairly titled "[[Good Brisk Blues]]" might have come from a Dylan bootleg, and "[[Venus in the Morning]]" does suggest a functional knowledge of barrelhouse music, but the lyrics ("they cover her politely from all indelicate eyes") are from a completely different realm. A self-conscious embrace of abnormality in all its glorious dislocation.</blockquote>

			=== Sunday Times ===
			August 7, 2005<ref>https://www.thetimes.co.uk/article/mayo-thompson-corkys-debt-to-his-father-8qpc72dprpb</ref>

			Stewart Lee<blockquote>A vast programme of reissues by the Red Krayola, the determinedly different Texan collective led by Mayo Thompson, is headed up by a solo album from 1970 that suddenly sounds utterly contemporary. Fans of outsider artist singer-songwriter types such as Smog or Jandek will see the ground plans for a whole school of quirky, lo-fi weirdness here. Around the Home has an almost vaudeville bent. Worried Worried anticipates the angular guitar pop of the currently hugely influential Glasgow sound of the early 1980s. They thought he was mad. Turns out Thompson was just 35 years ahead of his time.</blockquote>

	== References ==		== References ==

Dotclub: /* Background */

2023-09-25T17:31:11Z

Background

← Older revision		Revision as of 10:31, 25 September 2023
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	* Recording began in February 1970		* Recording began in February 1970
	* Released mail-order only in 1970 by [[Texas Revolution]]		* Released mail-order only in 1970 by [[Texas Revolution]]
			* Side of the sleeve says "Corky's Cigar"
	* Instrumental B-side outtake: [[Woof]]		* Instrumental B-side outtake: [[Woof]]
	* Released a single as in January 1971 as [[Saddlesore]]: [[Old Tom Clark (single)\|Old Tom Clark]]		* Released a single as in January 1971 as [[Saddlesore]]: [[Old Tom Clark (single)\|Old Tom Clark]]

Dotclub: /* Texas Revolution */

2023-09-18T23:01:45Z

Texas Revolution

← Older revision		Revision as of 16:01, 18 September 2023
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	<gallery mode="packed">		<gallery mode="packed">
	File:Corky-Saddlesore-Stone-ad.jpeg\|Ad in Rolling Stone, January 7, 1971		File:Corky-Saddlesore-Stone-ad.jpeg\|Ad in ''Rolling Stone'', January 7, 1971
	</gallery>		</gallery>

Dotclub: /* Mayo Thompson & The Corky Band */

2023-09-18T23:01:10Z

Mayo Thompson & The Corky Band

@@ Line 76: / Line 76: @@
 === Mayo Thompson & The Corky Band ===
-In 2019, Thompson began performing the album live in full for the album's 50th anniversary. The performances were put on hold in March 2020 due to the COVID-19 pandemic. They will resume in Summer 2023.
+In 2013, Thompson first performed ''Corky's Debt'' live in full. For the album's 50th anniversary, Thompson and the Corky Band performed twice before the COVID-19 pandemic in March 2020 put future performances on hold. They resumed in summer 2023.
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+!
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+!
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-!Notes
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 |NY
 |Le Poisson Rouge
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 |CA
 |Hammer Museum
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 |CA
 |Zebulon
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