This is the early raw Chestnutt, when accompaniment was minimal, predominantly acoustic and when he was desperate to wrestle every lyrical jewel into every little space. The title reference to the great American writer John Fante, is a key to this, Chestnutt's `second squirt`, his `sophomore slough`, his `Ask The Dust`, his masterpiece. Like prime Fante, this free-wheels with fevered flights of imagery, suffused with playful and surreal comedy and `stupid preoccupations` with waylaid terms (`puny ingratiations`, `croaker sacks`, `tectonic panache`...) that Vic stretches, rolls and spits with unmistakable relish (`pee-yew-nee in-gray-shee-aa-shuns`), but is ultimately steeped in tragedy (`Florida` concerns the suicide of a friend). These are broad comparisons, Chestnutt, straddling the high-wires of lazy `alt country` classifications, is a unique, unrivalled figure in modern American music, as typified by champions as diverse as Mary Margeret O'Hara, R.E.M. (Stipe produced this record and offers some funked-up clavinet), Garbage and even Madonna. Like Fante Chesnutt is undervalued, and demands your immediate attention, and this is the record to begin the crusade.