1 	This Is The Wind That Blows Out 	4:03
2 	Sphinx Under Curious Men 	9:24
3 	Friday Nights With 	5:10
4 	Fahey's Car 	3:21
5 	The Doll Hospital 	8:20
6 	Linden Avenue Stomp 	3:46
7 	Nora's Leather Jacket 	5:31
8 	One Jack Rose (That I Mean) 	3:45

Glenn Jones – guitar, producer
Guitar – Jack Rose (tracks: 6) 

The debut acoustic guitar album from Cul de Sac's Glenn Jones is extremely reminiscent of John Fahey -- unsurprisingly so, given Jones' long association with Fahey as a fan and eventually, with Cul de Sac, a collaborator (on the album The Epiphany of Glenn Jones). These steel-string guitar instrumentals, like those of Fahey's, have a fluid, ever-shifting feel, very much in the Americana folk style, though often with a somewhat darker and more melancholic tone. They also contain hints of blues and gospel without ever straying too far into those genres. If this suffers in any way by a comparison with Takoma Records' releases of bygone days from Fahey and fellow instrumental guitar virtuosos Peter Lang, Robbie Basho, and Leo Kottke, it's that it doesn't have the feel of breaking new ground. It's almost something of a tribute record to the music those kind of guitarists made, rather than an identifiably individual statement, though the densely jangling gentleness of "Nora's Leather Jacket" reaches out toward something more idiosyncratic. Still, it's abundant in both reverent affection for genre-blending, folk-based American acoustic guitar eclecticism and, just as crucially, considerable instrumental skill on the part of Jones himself. To be technical about things, not all of these eight tracks are Jones' solo performances: "Linden Avenue Stomp" is a duet with Jack Rose of Pelt. ---Richie Unterberger, AllMusic Review

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01	Barbecue Bob in Fishtown
02	Keep it a Hundred Years					play				
03	For Wendy, In Her Girlish Days
04	Redwood Ramble Misremembered
05	Snowdrops (for Robert Walser)
06	Dead Reckoning
07	A Lark in Earnest						play						
08	1337 Shattuck Avenue, Apartment D
09	A Geranium for Mano-a-Mano

Glenn Jones - Acoustic Guitar, Banjo

“The best guitarist you never heard of” – Jim Sullivan, Boston Globe "Glenn Jones' nigh-on-half-century spent steeping himself in acoustic guitar lore gleams as bright as dimes at the bottom of a fountain pool ona sunny day, only much richer. He not only knows the Takoma crew, he knows about what their inspirations knew, and he's an elder amongst the disciples. He's also an expressive player, a splendid composer, just the sort of artist to keep this music alive after fashion and fancy pass it by - and he'll do it by making records such as this, ones that touch the soul as well as the ears." --- Bill Meyer, Signal to Noise

The third full solo release by Glenn Jones finds the scholarly, carefully elegant performer continuing to stake out his own style on not only acoustic guitar, but banjo, which as he describes in his unsurprisingly entertaining and informative liner notes as "an instrument I love, but which I only came to in the past two years or so." Jones' apparently effortless way around performing what are often astonishingly complex pieces makes Barbecue Bob in Fishtown as much a joy as his many other solo and collaborative efforts, but in an odd -- and inviting -- way, Barbecue Bob is almost a pop album for him. Not in a mainstream 2009-era sense of the term, but the focus on shorter pieces and immediate, joyful thrills helps situate the release as both a showcase for his abilities and a way to introduce a new listener to possibilities of experimental acoustic performance on the instruments. There's a palpable energy and cheer in songs like the title track as well as stark, strange beauty in the slow, focused notes on "Snowdrops (For Robert Walser)," while his banjo performances combine the familiar, fluid flow of his guitar work with the instrument's at-once homey and strangely distant, mysterious sound, as readily heard on "Keep It a Hundred Years" and "A Lark in Earnest." Meanwhile, one of Jones' icons, Robbie Basho, gets a hat tip not once but twice -- "1337 Shattuck Avenue, Apartment D" is a specific tribute to the musician, while "Redwood Ramble Misremembered" resulted as Jones explains in the notes, after remembering a portion of Basho's "Redwood Ramble" and ending up with a wholly new piece in the end instead. ---Ned Ragget, allmusic.com

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