Saturday, December 10, 2016
Kingfish has been called a Grateful Dead offshoot band but that's not really the case. The group was started in 1973 by two members of New Riders of the Purple Sage, guitarist and harmonica player Matt Kelly and the late bassist Dave Torbert.
It was only after they'd gotten the band together that they were joined by Grateful Dead guitarist Bob Weir. And that's where the story gets interesting.
For their self-titled debut LP, which came out in '76, Weir brought them a song suite that would become a staple of the Dead's live repertoire: "Lazy Lightning/Supplication." These songs were played hundreds of times live. Decades later, when newbie Deadheads went back to figure out where they'd originated, many were befuddled as to why Weir brought them to this obscure band's first album and not a Dead album like Blues For Allah -- which could have used those songs.
In fact, the Dead's studio albums would have been a lot stronger had Weir and Jerry Garcia not consistently put their best songs on side projects and solo records instead of Dead albums. What were they thinking? The tales of internal struggles and solo record deals are too detailed for me to map out here. But if you want to know the full story, I'd recommend buying the book "The Grateful Dead FAQ: All That's Left To Know About the World's Greatest Jam Band."
As most readers of this blog know, I'm big on pushing this book because the author is the reason for all the out-of-print Dead rarities that have been posted here. This album is another one of those. Most hardcore Deadheads don't even know it exists. Unlike that first Kingfish album, this one has never been released on CD, which is odd because it came out on a bigger label, Jet Records. Kingfish's debut (which got to #50) had been released on the Dead's own Round Records imprint, which folded shortly thereafter.
Live 'N' Kickin' was Kingfish's follow-up to the aforementioned debut. Putting out a live LP as a second album was clearly a way to cash in on the involvement of Weir, who would soon return to the Dead full-time. But even with that it's still a decent album if you enjoy this kind of meat-and-potatoes rock'n'roll. It almost made the Top 100, which is actually not bad considering Weir appears on it even less than he does on that first record.
Here, Weir sings the closing track, a cover of Chuck Berry's "Around and Around." That's it. That wasn't even much of a novelty in '77, because the Dead had just released a live version on the 1976 album Steal Your Face. It's even less of a novelty now, since you can go to Archive.org and hear virtually all of the 418 (yes, 418) performances the Dead did of this song.
But that said, this is otherwise a pretty cool document of a '70s rock band getting down at a live club, in this case the Roxy in Hollywood. They don't make 'em like this anymore. People now play this music self-consciously as "roots music" or "jam band music," or they do it with a touch of irony and perform it revival-style. But this is the real thing and what it lacks in subtlety it makes up for in enthusiasm. (This, by the way, is also the reason I enjoy listen to the rare Pat Travers concert I posted earlier this year.)
The versions of "Mule Skinner Blues" and "I Hear You Knocking" show that these guys knew their roots, while "Juke" showcases Kelly's impressive harmonica skills, which were also heard on such Dead songs as "I Need A Miracle." Also, anyone who likes the Dead's "groove songs" like "Franklin's Tower" or "Help On The Way," should really take to Kelly and Torbert's "Hypnotize," a similar song from the first album that they rock the hell out of here.
Other Grateful Dead posts:
The Grateful Dead - Aoxomoxoa (Original Mix, 1969)
The Grateful Dead - Anthem of the Sun (1971 Remix)
The Grateful Dead - Spirit of '76: Live at the Cow Palace Bonus Disc (2007)
The Grateful Dead - Days Between: The Final Album That Never Was (1992-95)
Grateful Dead-related posts:
Mother McCree's Uptown Jug Champions - Live at the Top of the Tangent (1964)
Keith & Donna - Keith & Donna (1975)
Diga Rhythm Band - Diga (1976)
Robert Hunter - Jack O' Roses (1980)
Bobby and the Midnites - Featuring Bob Weir (1981)
Brent Mydland - Unreleased Solo Album (1982)
Tom Constanten - Grateful Dreams (2000)
1. Good-Bye Yer Honor
3. Mule Skinner Blues
4. I Hear You Knocking
6. Jump for Joy
7. Overnight Bag
8. Jump Back
9. Shake and Fingerpop
10. Around and Around
Friday, December 9, 2016
Ten years ago this week, my ex-wife and I received a call from one of her cousins while he was visiting his aging parents in Baltimore. They were looking to put their house on the market, but they had a basement full of records they needed to clear out first. Would we be interested in them?
Well, my friends, you know the answer to that one. Was Dennis Wilson interested in a gorgeous California blonde in '66? Was George Harrison interested in a fab new tabla in '67? Our response was an unequivocal "Yes! Please send us that ticket into heaven!"
The records in question had belonged to one of the brothers in the family named who'd died about fifteen years earlier. Back in the '70s, Larry worked as a disc jockey at several Baltimore-area radio station, so he'd accumulated a lot of music. The cousin who called us was successful TV producer and didn't even want any money for the records. He just wanted them out of the house ASAP. (When we realized the worth of some of these records we did, in fact, give the elderly parents some money, however. More on that in a second.)
My ex and I spent two weekends huddled in that basement, sifting through a seemingly endless stream of promo albums, bootleg LP, and records put out by radio stations where Larry had worked, some of which I've put on this blog. He also had a massive collection of 45s records. Some were insanely rare, like the DJ copy of the Beach Boys' "Surfin'" on Candix and the picture sleeve promo of Bruce Springsteen's "Blinded By the Light." Others were standard Motown or girl group 45s, but still sounded incredible.
After we brought these singles home and I started to examine each one, I noticed two of them had no actual labels but instead sported the logo of a company called "Audiodisc." And that's why we're here today folks.
It turned out these were acetates. And when I played them, I realized that they were acetates by soul groups (or solo soul artists) from the '60s. As readers of this blog know, that's right up my alley. But even with my knowledge of soul music, I had no idea who the artists on the discs were. They were most likely Baltimore acts who never got signed. I guess they'd dropped off acetates to Larry in hopes that he would play them on the air or give them some words of encouragement..
I'd always thought acetates were one-sided, but these discs had a song on each side. So that made four songs in all. One of them I knew: It was a cover of Jay Wiggins' soul classic "Sad Girl" (also done by the Intruders). The rest were a mystery -- and still are. I was able to come up with likely song titles for the other tunes, which I assume are originals, because I can't find these titles done by any other artist in any of the hundreds of soul collections I have.
That's ironic, because these songs are actually better than a lot of records that did get released and ended up on compilations. "Our Love Will Last," is a male-female duet done in a raucous, high-energy style. The flip of that, "Things Are Looking Up," is in a similar vein stylistically but with only the male singer on the track. These make up the disc that has Audiodisc label in blue print.
Then there was the 45 with the label in red (see right). This is the one that had the cover of "Sad Girl," which means it was made in 1963 or later, since '63 is when Wiggins debuted that song. The other song, "Do You Want Me," is a rumba with a great melody and a rocking drum track. The vibe of both these songs makes me wonder if this wasn't a soul singer fronting a rock band or some combination thereof.
(Update: Reader Alan Mitchell helpfully noted the song I've called "Do You Want Me" is actually "Beg Me," done by Chuck Jackson and others. It was written by Rudy Clark who also penned "If You Gotta Make A Fool Of Somebody" and "Got My Mind Set On You." I changed the info below.)
I like being in possession of "mystery acetates," because I'm a fan of several such songs. One is "Father Good's Space Flight," which made it onto one of the Circus Days sets. This was an acetate that had no band name on it. When the owner of it submitted it to Circus Days and learned they required a group name, he simply made one by naming it after his daughter Amelia. That's why the group on Circus Days is called the Amelia Smile. Other mystery tracks include the two songs that close out the excellent Philly Soul Girls Vol. 1 (1963-67), which are by a female singer no one can identify.
So, if any of you out there knows anything about soul music groups from Baltimore in the '60s, give me a holler. Someone, somewhere has to be able to identify these elusive performers.
Various Artists - Indie Soul of the '60s
Various Artists - Northern Soul Girls Rock! Disc 4
Various Artists - Bigtop Soul Cellar
Various Artists - One-Derful, Mar-V-Lus, Northern Soul
Various Artists - Capitol City Soul
Various Artists - Big City Soul Vol. 1 (1994)
Various Artists - Big City Soul Vol. 2 - The Verve Story (1994)
Various Artists - Big City Soul Vol. 3 - The MGM Story (1994)
Various Artists - Big City Soul Vol. 4 - Disc 1 (1995)
Various Artists - Big City Soul Vol. 4 - Disc 2 (1995)
1. Unknown Artist #1 (Blue Label) - Our Love Will Last
2. Unknown Artist #1 (Blue Label) - Things Are Looking Up
3. Unknown Artist #2 (Red Label) - Sad Girl
4. Unknown Artist #2 (Red Label) - Beg Me
Thursday, December 8, 2016
To mark the anniversary of John Lennon's passing, here's a bootleg that documents the writing and recording of one of his most beloved songs, "Across the Universe." It starts with Lennon's home recordings, moves to Abbey Road studios, treks through Twickenham Studios, and ends up in the hands of Phil Spector.
I'm pretty sure I got this bootleg from the now-defunct Here, There and Everywhere blog, which was dedicated to unreleased Beatles recordings. There is a second disc to this set which documents the recording of "The Long and Winding Road," but since I never could locate it, it won't be presented here.
But as for "Across the Universe," if any of you are serious Beatle fans, maybe you can help me with a question about recording dates of the track..
According to my original 1988 copy of Mark Lewisohn's "The Beatles Recording Sessions," the Fabs began recording "Across the Universe" on Feb. 4, 1968. On the day before, Feb. 3, they were working on "Lady Madonna."
But several other sources say that Feb. 3 was also dedicated to recording "Across the Universe," such as the liner notes to Anthology 2. Does anyone know if Lewisohn revised his original recording dates from that book or if he made a mistake when he wrote those liner notes in the '90s? My own feeling is the liner notes were probably wrong because I think it's unlikely the group would have started recording this song after a whole day recording "Lady Madonna" (the session ran 2:30 p.m.-1:30 a.m. with a dinner break). But you never know.
Anyway, this bootleg has a the Feb. 3 date, so I left it. If it's incorrect, well, Lewisohn can be forgiven one tiny mistake considering the wealth of knowledge he's brought to the table about the Fabs.
Update: Helpful commenter Peerke cites John C. Winn's book "Way Beyond Compare: The Beatles’Recorded Legacy, Volume One, 1957–1965" as confirming the Feb. 3 recording date for this song, and this sounds accurate to me. For more details, see the comments section where Peerke quotes the text in detail. Or click here. Thanks, Peerke!
1. Home Recording 1 - 1967
2. Home Recording 2 - 1967
3. Take 2 - Monitor Mix - 3 Feb. 1968
4. Take 7 - Acetate Mix - 4 Feb. 1968
5. Get Back Session - 7 Jan. 1969
6. Get Back Session - 7 Jan. 1969
7. Get Back Session - 9 Jan. 1969
8. Get Back Session - 9 Jan. 1969
9. Take 2 - Anthology - 3 Feb. 1968
10. Take 8 - Acetate Bird Version - 4 & 8 Feb. 1968
11. Bird Version - Past Masters - 4 & 8 Feb. 1968
12. Album Version - Phil Spector Mix - 4 & 8 Feb. 1968
Wednesday, December 7, 2016
Piano is a collection of rare Teardrop Explodes tracks put out by Griffin Records in the '90s. When I bought this, it was the only place on CD you could get hard-to-find singles sides like "Bouncing Babies" and the early version of "Treason" and "Books." Those cuts have now been added to the various reissues of the group's first album, Kilimanjaro, so they're not quite as obscure (unless the versions here are somehow different -- I don't have the reissues, so I have no way of knowing.)
The final three tracks are still relatively rare. These are three songs that were included on the multi-artist LP To The Shores Of Lake Placid, which was put out in 1982 by Zoo Records, the group's first label.
The songs include "Take A Chance" which was actually titled "Chance;" and "When I Dream," which is heard here in a different version from the one on Kilimanjaro. Both of these tracks were later included as part of the Peel Sessions Plus BBC collection. That leaves the closing track, "Kwalo Klobinsky's Lullaby," which seems to be by members of the group using pseudonyms and recording under the moniker Whopper. That's definitely Julian Cope on vocals. Whatever the case, this hasn't ever come out on CD as far as I know.
This set has been online before, but not in high quality with full artwork. As a collection, it's emblematic of that period in the '90s before the "bonus track" frenzy began and all sorts of "independent" companies stepped in to make little-known tracks available to the general public.
1. Sleeping Gas
2. Camera Camera
3. Kirkby Workers Dream Fades
4. Bouncing Babies
5. All I Am Is Loving You
8. Take A Chance
9. When I Dream
10. Kwalo Klobinsky's Lullaby
Tuesday, December 6, 2016
Since I posted Rick Wes' first album, North, South, East, Wes, back in February, I figured I should close the book on him, so to speak, and post his second and final effort, Possession.
For information on who this guy was and why I've never forgotten his music, please see that February post. There's no point in me rewriting it. The short answer, though, is that Rick Wes was sort of the '90s equivalent of Vinnie Monte, the singer from the late '50s and early '60s I wrote about, in my last post. In other words, he was a would-be teen idol.
But unlike Monte, who seemed like a struggling upstart in need of proper management, Wes had some serious music industry power behind him. He was managed and produced by New Kids on the Block Svengali Maurice Starr at their height of Starr's hot streak. But unlike the New Kids, Wes didn't come to dominate the pop charts. Nor did he make music nearly as memorable as the best New Kids hits.
Wes' second album is not as good as first, which at least got by on the quirkiness of Starr's compositions, where he did things like quote Dee Clark oldies. This one was almost entirely composed by Starr and it seems like by 1991 "The General" (as he was known) was losing his touch in writing hit songs. Almost everything here is forgettable.
One exception is the ballad "What Ever (SIC) I Am," which has a lilting melody and attractive chorus hook almost on par with the New Kids' "Please Don't Go Girl." The problem, as I stated in my original post, is that Wes was no Jordan Knight -- or Joey McIntyre, for that mater. You really need to be able to sing to pull of R&B ballads. Say what you want about the New Kids, but most of 'em had great voices. By contrast, Wes sounds here like he's expending all his effort just to stay on pitch. Also, the super-mellow "If I Ruled the World" is pretty good, but suffers from the same vocal shortcomings.
So if a record isn't very good, why post it? Well, for one thing its rare and my goal here is to post music few other people have. But also, like I said in my original Rick Wes post, sometimes failed albums can be interesting in and of themselves. You get to hear what didn't work and why.
In this case, Starr's teen-pop formula had worn thin and he needed better singers to get his songs across. Also, this CD serves as early '90s time capsule for anyone who misses that more innocent era. This was the period of "Beverly Hills 90210" and shopping malls, just before the big alternative wave hit and changed pop music forever.
To a young person now, this music probably sounds about as old-fashioned as the aforementioned Dee Clark did to me back then. It's hard to believe those low-quality synth sounds and rickety-sounding drum machines once passed for state of the art, but that was pop music in the Gulf War era.
More dope early '90s teen pop sounds:
Alisha - Bounce Back (1990)
Chris Cuevas - Somehow, Someway (1991)
Debbie Gibson - Rarities (1990-1999)
Hi-Five - Hi-Five (1990)
Homework - Homework (1990)
Ms. Adventures - Ms. Adventures (1990)
The Party - In the Meantime, In Between Time (1991)
Rick Wes - North, South, East, Wes (1990)
The Superiors - Perfect Timing (1990)
2. My Forever
3. Just One Smile
4. I Don't Wanna Be Wrong (Again)
5. Never Knew You (Like This)
6. It's You
7. What Ever I Am
8. Keep On Doin' (What You're Doin')
9. If I Ruled The World
10. Angel Boy
Monday, December 5, 2016
We've all heard of "journeymen rockers" and/or "journeyman soul singers." But what about journeymen teen idols? If there is such a thing, then Vinnie Monte is it. From 1958 to 1964, Monte released around twenty singles on over a half dozen labels, none of which ever made the pop charts.
I use the phrase "around twenty singles" because it's hard to get an exact number. At least one of his 45s is so obscure that it doesn't show up on 45Cat or Discogs, so who is to say there aren't more that fell through the cracks?
Not only was Monte not very popular during his original run as a singer, but the only collection of his material, Just One Of The Guys, has also fallen into obscurity and has gone out-of-print since its 2005 release. It wasn't exactly a high-profile affair to begin with. The compilation came out on an indie label called Frog Hopper and seems to be its only release.
It's impressive, though, that someone took the time to even make this collection. It rounds up most of Monte's 45 sides that would have been otherwise lost to history. Without this collection, the modern world would scarcely know of Monte, because there is very little information about him floating around out there.
But as I was researching these singles so I could put release dates and songwriting credits in the MP3 tags, I uncovered a few tidbits about the singer. And so I now present to you the only written essay about Vinnie Monte on the Web. Don't get too excited, though. There's not that much to tell.
Monte was a singer in the mold of Neil Sedaka, Bobby Rydell, and Paul Anka. In other words, even though he emerged during the rock'n'roll era, he was a pop vocalist all the way. He had a good voice, but like those singers he could be overwrought and (to put it politely) a bit unmasculine. Sometimes this worked; sometimes it didn't.
His real name seems to have been Vincent Montenegro. I came to this conclusion after perusing the songwriting credits on his records. To his credit, Monte wrote some of his own material -- unlike a lot of other teen idols. His early tunes were published as Vinnie Monte, but some of the later ones are credited to Vincent Montenegro (see record label at right).
I also found out he recorded for a whopping eight record labels during his career. These include: Jubilee, Decanter, RCA Victor, Fargo, Harmon, Josie, TCF, and Rust.
The release on Rust from 1964 ("His Girl" b/w "Walk Down the Aisle") looks like it was his last 45 and is, ironically, his best. But talk about obscurity: This the record I mentioned that's not in any of the online 45 catalog sites. On top of that, it's not for sale anywhere.
The only way I was able to dig up songwriting credits on it was by Googling Monte's name along with the song title of the A-Side, which led me to a retrospective CD by one of the composers, Ritchie Adams. The back of the Adams CD had the label catalog number of the Monte record. From there I did more Googling and was able to get full songwriting credits at the Catalog of Copyright Entries. I did the same with the B-Side "Walk Down the Aisle," but can't guarantee 100 percent that one is accurate.
A handful of Monte's records probably could have been hits if the proverbial stars has aligned. First among them is "One Of The Guys," a cutesy self-penned novelty tune from 1962 where Monte namedrops a bunch of other popular singers of the day into the lyrics the way Bob Luman did in his 1960 hit "Let's Think About Living." Monte's Italian affectations on the ethnic ballad "A Love Of My Own" might have made him into a sort of male version of Connie Francis had it caught on, and the upbear "Naughty Naughty Baby" shows he could rock if he got a good arrangement.
But the aforementioned "His Girl," with its 4 Seasons stylings and bouncy shuffle tempo, gets my vote for his best record. Sadly, it had little chance of being a hit because by the time it came out in late 1964, there were virtually no old-styled teen idols who were making much impact on the pop charts. Its B-Side, "Walk Down the Aisle," is also pretty good and works as a sort of updated do wop number. Granted, it's not exactly the kind of thing that was clicking with the public in the year of the British Invasion, but nice try.
Funny enough, Monte's only other truly great record was released in 1964 as well. It's the believably maudlin ballad "What's The Matter With Marilyn," which I count as a great lost '60s record. This is one of those tunes you just know is going to be great as soon as you hear the opening bars. Monte really wrings the dramatics out of the lyric, which has him wondering why the affections of his love interest have mysteriously evaporated. Laugh at its sappy strings and over-the-top vocalizing if you will, but the song convincingly paints the picture of a situation every guy has found himself in at one time are another.
On the other hand, this collection has a few songs that aren't so hot. And they happen to be the early efforts of the now-legendary songwriting teams of Gerry Goffin & Carole King and Barry Mann & Cynthia Weil. The first pair contributed the goofy "Follow That Girl" to Monte's oeuvre in 1961 and it comes off as annoying as some of the numbers they placed with James Darren during this period, like "Her Royal Majesty" (which inexplicably went Top 10).
Mann and Weil, meanwhile, check in with the erstwhile country of "Painting the Town With Teardrops" and the Gene Pitney imitation track "You Can't Compare With My Baby." Neither are bad per se; just bland and derivative. Monte, by the way, imitates Pitney quite a bit on these songs, for what that's worth.
As a songwriter, Monte is passable. As mentioned, his "One Of The Guys" is at least amusing. But other than that, his tunes are mostly imitations of other artists. The misspelled "Mashed Potatoe Girl" is ersatz Ernie Maresca, while "Hey, Look At the Winter Snow" is fake Dion. This is why the "journeyman" tag applies. Monte, it seems, worked for over a half decade to forge a style and a find a hook, but never quite reached either goal.
And that's all she wrote about Vinnie Monte. He might not have come close to the big time, but "His Girl" and "What's The Matter With Marilyn" are good enough performances that I sought him out as soon as I heard them. And that counts for something. I'll bet there are at least a handful of other songs here that will perk up the ears of people who normally wouldn't have otherwise encountered the elusive Mr. Monte.
1. One Of The Guys
2. The Year May Be Over (But The Heartaches Are Just Beginning)
3. These Three Words
4. Follow That Girl
5. Without Your Love
6. Summer Spree
7. I'll Walk You Home
8. A Freshman With A Senior Dream
9. A Love Of My Own
10. Trail Of Teardrops
11. Ask Your Heart
12. Painting The Town With Teardrops
13. I Don't Have The Heart To Tell Her
14. I Walk Alone
15. I Wrote A Poem
16. You Can't Compare With My Baby
17. Mashed Potatoe (SIC) Girl
18. You'll Never Know
19. You Always Hurt The One You Love
20. Joanie Don't Be Angry
21. Take Good Care Of Her
23. Naughty Naughty Baby
24. His Girl
25. Walk Down The Aisle
26. I Believe
27. After Your Gone
28. Your Cute Little Ways
29. Hey Look At The Winter Snow
30. What's The Matter With Marilyn
31. It's The End
Sunday, December 4, 2016
This is an update of a post I did on April 2 of this year. As with my Style Council rip from that same month, I was unhappy with the quality of rip I'd made, so I improved it. (What was it about April? The cruelest month for technical audio projects, I guess). I not only cleaned up some stray ticks and pops in the audio files, but gave the music a bit more presence by raising each track's volume by half a decibel. I also did larger scans of the album art, so it's much easier to see (why didn't I do this in the first place?). If you have this rip, I recommend getting it again -- it'll be a better experience all around. Below is my original post. It'll explain why I'm acting like a record that no one has ever heard of is the second coming of Pet Sounds. Story of my life.
Never released on CD, this is the first solo album by Joy of Cooking band leader Toni Brown. Followers of this blog might remember that I blogged about Brown's second (and final) solo LP last year and said I'd post this one if I could find a good copy. Well, I found a really good copy. And it's a funny story how.
I was at a record show this February, and bought an LP by R&B artist Lonette McKee. But when I took it home I found a disc by the band Ambrosia inside. Huh? So at the next month's show, I returned it to the dealer who pointed at his massive, disorganized boxes of LPs and said "You can have both albums if you can find their counterparts!" He had thousands of albums, so I spent hours crate-digging. I found neither album. But I did find an excellent copy of Toni Brown's Good For You, Too, which I'd been seeking for decades. So, the dealer's mistake turned out to be a blessing in disguise.
If you've found this page, you probably already know about Brown. She co-founded the Marin County folk-rock group Joy of Cooking with Terry Garthwaite and they released three fantastic albums in the early '70s. See this article for a complete history. Joy of Cooking never had much commercial success and Brown left the group in 1973. (Addendum: This Toni Brown isn't the Toni Brown who edited Relix magazine and currently performs solo. They're two different people.)
Toni Brown made this album shortly after the break, and it's possibly my favorite out of everything she did, including Joy of Cooking's albums. Every song is a gem, and her background in creative writing (which she'd studied at Bennington College) really comes through in story-songs like "Everything Comes in Time" and "Big Trout River." Several artists covered "Everything Comes in Time," such as Twiggy. Brown herself put it out as a single, but it didn't click.
The album itself didn't do much either, despite being placed on several progressive rock station's playlists according to Billboard magazine. I think the reason for Brown's lack of commercial success is that she was just too far ahead of her time. With Joy of Cooking she was among the first women to lead a major-label rock band before that was popular. And with her solo work she developed the country-goes-to-college style of pop music that Mary Chapin Carpenter later found success with in the 1990s.
Joy of Cooking fans might be interested to know that Toni Brown and Terry Garthwaite's collaboration didn't end when the band ended. They did two albums as a duo: Cross Country and The Joy. Cross-Country is in print, but The Joy isn't, so I did a rip of that too. Brown also wrote one song for Terry Garthwaite's self-titled debut album (which I'll post if I can ever find a good copy) and Terry sings back-ups on half of the songs on this album. So if Good For You, Too sounds a bit like Joy of Cooking in spots, that's why.
This is a high-quality rip from near-mint vinyl and includes scans of the lyrics sheet and other odds and ends. If you listen closely with headphones you'll hear some hiss and various other noises. That's not an error with the rip. That sound comes from the actual analog tapes and live-in-the-studio playing, which is the way they used to make records. Analog recording might have had its drawbacks, but it also yielded a great sounds, as evidenced by this album.
The Joy - Toni Brown & Terry Garthwaite (1977)
Toni Brown - Toni Brown (1979).
1. Good For You,Too
2. I Loved You All The Time
3. Everything Comes In Time
4. Wild Bird
5. The Devil And Willie Mahoney
6. Hang On To Your Happy Days
7. Big Trout River
8. Sweet Sympathy
9. After All This Time
10. Warm Winds, Sweet Wine