Karl Marx meets Music Row? This song is a Marxist anthem with a country music theme and tune. Aimed at the blue-collar, southern working class roots from which he sprang, Green wrote this song to his own people; with a far-left flair.

Not just because of Ron Green's screaming "fuzz box" guitar and the deliberately off-key instrumental of "When Johnny Comes Marching Home," this is a song that Gary did not expect to make Moe's cut to be released. He was wrong.

The song is a painful and bitter poetic attack on Gary's beloved southern homeland, blasting the economic system that gave rise to the Ku Klux Klan, an Atlanta serial killer of children, Neo-nazi children's summer camps in Georgia, and northern liberals for destroying a southern class that would have never allowed such racist atrocities. Again, filled with Gary's 1970s-1980s paradoxes, the song is powerful and disarming at the same time.

Of course there is a political overtone, but it is very light. This is, pure and simple, a song for cat lovers from a cat lover.

A country ballad, void of politics, about a young man that went to prison for a murder committed by his girlfriend.

A haunting piano ballad about the pain and  hollowness Gary said he saw behind the eyes of Ricky Nelson and Jerry Lee Lewis. A song of suicide and the emptiness of fame.

This is the only recording of Gary playing the piano, though he composed at the piano as often as the guitar.

A fearful reflection of the last of the cold war worries about nuclear destruction and the lies told to hide the immediacy of the threat at the time.

Mother Maybelle had just died and this track features a three-minute monologue by Gary, telling of the first time he met her. He then breaks into a very up-tempo instrumental of her Wildwood Flower which he then blends into his vocal of a tribute song to her called The Last Minstrel Is Coming Home.