
The Dubliners – Now / A Parcel of Rogues
The Timeless Irish Charm of The Dubliners’ Vinyl Record Masterpiece Summary Step into Irish folk music with “Now
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Released by Demon Records under license from PolyGram Products, this Mercury Records ℗ release was recorded at Studio 70, Tampa, and pressed at CBS Aston Clinton. Produced by Randy California, with Ed Cassidy on drums, Barry Keene on bass, Gabe Castillo on congas, and Benji on Moog/harpsichord. Bold artwork by Burt Shonberg.
Spirit of 76 (1988, Edsel Records DED 251) is one of those sleeper Spirit releases that collectors love: it looks like a cult artifact, plays like a loose-but-locking jam session, and sits just far enough off the “obvious classics” path to stay interesting.
If you’re the type who likes vinyl with story + scarcity, this one earns its shelf space. Over the last 20 years, copies that used to drift around bargain bins and early online listings (think cheap, overlooked Edsel pressings in the mid‑2000s) have steadily moved into “collector curiosity” territory. Today, you’ll often see clean copies priced notably higher than they were back then, especially when the sleeve and inserts are intact. The reason is simple: Spirit’s catalog keeps getting reappraised, and oddball titles like this get snapped up once people realize they’re not easy to replace in comparable condition.
Spirit formed in the late ’60s and never really agreed to stay in one lane. They’re often filed under psychedelic rock, but you’ll hear jazz phrasing, blues grit, and prog-like detours. The core duo on this release—Randy California (guitar, vocals) and Ed Cassidy (drums)—carried the band’s adventurous DNA for decades.
Trivia for the pub quiz: Randy California’s name came from a Jimi Hendrix connection—an early sign that Spirit’s world was always slightly adjacent to the main rock timeline, but rarely fully inside it.
Despite the 1988 release date, Spirit of 76 feels like a time capsule—part performance document, part scrapbook. Edsel (a label well known among collectors for thoughtful reissues and archival digs) issued it with the vibe of something rescued from the vault and lovingly presented rather than slickly “modernized.”
Stylistically, it leans into improvisation: extended sections, recurring motifs, and the sense that the room matters as much as the notes. Compared to Spirit’s more “album-shaped” earlier work, this plays looser—like the band letting the tape run until the magic shows up.
The sleeve is a piece of outsider-art charm: a hand-drawn, heavily textured plaque-like illustration framed in black, with “SPIRIT OF ’76” carved into the chaos. Flip it over, and the back continues the scribbled, etched aesthetic—like liner notes from a parallel universe.
Inside, the collage of band photos and handwritten-style credits makes it feel archival and intimate, like you’re holding a private band document rather than a mass-market product.
Tracklist highlights (as shown on the sleeve) include bold choices and familiar Spirit signatures: “America The Beautiful” opens with a wink and a raised eyebrow; covers like “The Times They Are A‑Changing” and “Like A Rolling Stone” aren’t about copying Dylan—they’re about reframing him through Spirit’s restless rhythm section and Randy’s searching guitar tone.
Then come the glue tracks: the multi-part “Tampa Jam” segments, which act like hallways connecting different rooms—groove-based, exploratory, occasionally ecstatic.
Spirit of 76 (DED 251) is for listeners who like their rock history a little crooked, a little mysterious, and very human. It’s playful, archival, and proudly unpolished—exactly the kind of record that turns a casual Spirit fan into a collector.
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