KENNY KOSEK AND MATT GLASER— Hasty Lonesome (Rounder):: The presence of a medley of songs from Marx Brothers movies seems all too fitting on this album, which marks the united effort of Kosek and Glaser, two brilliant violinists with similar screws loose in just the right places. How else could you account for such bizarro bonanzas as “Lonesome Fiddle Blues,” a kind of South American bluegrass samba, or the title track, a sprawling beyond the fringe mind excursion into jazzbowed bananaland. Once in awhile, Glaser and Kosek play it straight and true (“Deep Elum Blues”), but more often than not they’re gleefully sabotaging standard fiddle tunes with split second tangential dazzle and virtuoso playfulness that would have Margaret Dumont doing double takes all day. Either this review is over or my typewriter’s stopped. B.A.

JOHN FAHEY—Live In Tasmania (Takoma):: Fahey’s one of the handful of acoustic guitarists accepted by rock ’n’ roll fans because he’s (l)undeniably talented, (2)he’s been known to take a drink or four every once in awhile, (3)crazy, and not afraid to flaunt it, and (4) he won’t go away. Actually, you can strike that last one because he doe's go away from time to time, as this Down Under disc proves. Musically, it’s pretty similar to Fahey’s other solo work—he sticks to blues classics like “Waltzing Matilda” and “The Approaching Of The Disco Void”—but where else can you hear his inimitable “Thank you, thank you, uh...”s? Hopefully, this album’s success will pave the way for other concert recordings done in exotic-butappropriate places. Are you ready for Nico At The Munich Morgue or Van Halen Live In Your Little Sister’s Bedroom? I know I am. M.D. SORROWS—Love Too Late (Pavillion):: Solid follow-up to their lightweight but intensly likeable Merseybeat-framed debut platter. The original material is even stronger this time out, if a bit over-arranged. Producer Shel Talmy gets the best out of these goslings, but next time he should use bigger scissors. IL J.