John Phillips: John, The Wolf King Of L.A. CD Track Listing

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John Phillips John, The Wolf King Of L.A. (1970)
John, The Wolf King Of L.A.\n\nOriginally Released 1970\nEdsel CD Edition Released February 1992\nRemastered + Expanded Varese Sarabande CD Edition Released September 12, 2006 \n\nAMG EXPERT REVIEW: The first solo album of the architect of the Mamas & Papas sound, John Phillips, was certainly one of the more heralded events at the dawn of the 1970s. Phillips, the primary songwriter and vocal arranger for all of the group's great records, however, was not exactly a great lead vocalist. Phillips knew this, and, according to his book Papa John, he purposely buried his voice in the mix. This proved to be a bit of tragedy, because underneath it all, this is an excellent album. Songs such as "April Anne," "Malibu People," and "Holland Tunnel" bear out what a fine songwriter he really was -- they are indeed some of the finest songs of his career. The performances on this record are spectacular. Backed by an all star group of musicians (most of Elvis Presley's band, including James Burton, as well as The Wrecking Crew among others), the record's decidedly country feel is crafted to the extreme. Mamas co-founder Denny Doherty has always felt that had the Mamas & Papas recorded this album, it would have been one of their finest. There's no doubt. -- Matthew Greenwald \n\n\nAmazon.com Product Description\n1970 debut solo album from the late founder of the Mama's & the Papa's. Backed by the cream of session musicians (Phil Spector's Wrecking Crew) & Elvis Presley guitarist James Burton. Currently out of print in the USA. \n\n\nAMAZON.COM CUSTOMER REVIEW (2006 Remastered + Expanded)\nIt's not really a surprise, February 13, 2007\nReviewer: Elliot Knapp (Walla Walla, Washington United States)\nNo, it's not a surprise that John the Wolfking of L.A. is a great record--John Phillips was the pen behind the Mamas and the Papas, transforming the emotional turmoil of the group's inner drama into some of the most classic and catchy pop music made in the late 60's as their primary songwriter and vocal arranger. Although he wasn't thought of as the group's best singer (and unfortunately didn't highlight his vocals on this record as much as he could), I think Phillips has a very soothing and emotive voice--of course he didn't compare to the technical prowess of Denny and Cass, but they were doing something different--more of a slick pop sound that was more about straight-up aesthetics. This record is pure personality. \n\nThe opener is pure magic--Phillips sings over Elvis Presley's backing band (a tight rhythm section and some great pedal steel texture) about "April Ann," a tale full of colorful and melancholy characters, quoting several popular film titles along the way. Although Phillips reportedly buried his own voice in the mix, I don't think it's really that hard to hear, and a pleasure to hear at that! After the first track, the album just keeps up the quality. The second song is another melancholy slow-burner, with great lyrics and some great stoner imagery. \n\nOverall, Phillips' record is laid-back good times music--I guess you'd call it country-rock (because of the pedal steel), but really it doesn't fit too neatly into any genre--it's just well-written, mellow, catchy rock and roll, and after a couple listens you won't really care how it's categorized--you'll just want to keep listening. John the Wolfking is definitely a vacation and beach album--several of the songs reference the ocean and the beach ("Malibu People" and "Down the Beach") as well as referencing broad ranging locales, like Tangiers and Mississippi. \n\nPhillips sure knows how to set a mood, and the infectiously mellow groove permeates his best solo record. I think the song that might sum it up best is "Mississippi," a listless (just like the river) thumper, with some feel-good vibes and some sly lines. John the Wolfking of L.A. puts on no pretense, and it comes off great as a result. It's too bad Phillips never achieved much solo success, since he would have produced quite a bit of great music continuing in the same vein. I highly recommend this album to fans of country/folk rock, as well to adventurous fans of the Mamas and Papas (it's not terribly similar though). I should also add that the album has several bonus tracks that are only slightly less strong than the original album, which should be listened to as its own discrete unit, separate from the bonus tracks. Hope you enjoy!\n\n\nAMAZON.COM CUSTOMER REVIEW (2006 Remastered + Expanded)\nLong overdue!, January 9, 2007\nReviewer: Robert Westfall (Avon, New York United States)\nThis is an album I have been trying to buy for several years on cd but the only versions available have been a Japanese cd and an equally hard to find British version on Edsel.These always seemed to sell for upwards of $100.00. \nI read in the now defunct ICE magazine that "Wolfking" was being reissued in the states at last by Varese but almost 18 months went by with no further word, nor did it appear on their website. \nWell, it's here at last and well worth the wait. This was John's best post Mama's and Papa's work. The songs are all top notch and John's performances are great. The band consists of the cream of LA's session players, many of who had also worked with the M&P's and Johnny Rivers among many others. \nThe 8 bonus tracks include works in progress,leftover sessions and the single version of the lp's only hit, "Mississippi". My recomendation is to grab it while you can. It could be equally rare as the previous reissues soon.\n\n\nAMAZON.COM CUSTOMER REVIEW (2006 Remastered + Expanded)\nNever liked the Mamas and Papas but this is great, October 27, 2006\nReviewer: James R. Parrett "jimp1005" (toronto, canada)\nOne of my favorite all-time albums, this new reissue sounds great, if a tad different than the vinyl. I don't much care for digital, but this baby has presence and feel. Nice job. As for the music - every song is classic melodic pop/rock with superb instrumentation. I love the fact John's voice is buried somewhat in the sound. It provides an homogeneous feel that causes me to turn up the volume and surround myself with memorable music. The original collection of songs are quality, only diminished slightly by the new bonus tracks. Like another reviewer stated, this album will last a long, long time. It's a prime candidate for the Repeat button. A no-brainer.\n\n\nAMAZON.COM CUSTOMER REVIEW (2006 Remastered + Expanded)\nA superfine John Phillips' music box, October 18, 2006\nReviewer: jayhikkss "Dr Simon to you"\nThe great, late John Phillips will forever be associated with "The Mama's And The Papa's" with whom he enjoyed terrific critical and commercial success, writing or co-writing 11 of the group's top 100 singles (5 others hits were covers). \n\nAfter the group's split (due to internal frictions and a changing musical climate), John Phillips recorded this splendid solo album using his regular ace studio cats (augmented by steel guitarists Buddy Emmons and Orville "Red" Rhodes, along with Elvis Presley's guitarist James Burton.) The inclusion of the latter musicians certainly explains, in part, the country tinge apparent in the arrangements. The sound proves much more laid-back than the one previously associated with his former group. John Phillips composed every track on the original album and handled the lead vocals; vocal backgrounds came courtesy of the Blossoms, a superlative trio of back-up female singers, including the underestimated Darlene Love). \nThe "big voices" from Cass and Denny were gone, but John Phillips was endowed with a very pleasant, smooth voice that had more of a singer-songwriter feel to it. I often think that it's too bad that John was so unsure of his lead vocals that he kind of buried them in the mix whilst I think that they should have been brought up quite a bit more forward. \nJohn Phillips' compositions on his first LP are excellent with supremely tuneful, finely crafted songs. The man is really at the top of his game here. The very good lyrics convey more sentiments of melancholy and world-weariness, as well as a darker edge, than those previously heard on the Mama's And The Papa's recordings. References to relationships old and new abound, either romantic or not. In the sometimes-cryptic lyrics, one gets the feeling that John was writing a lot about a coterie of LA friends and foes. \n\nAt the time of release, I recall reviewer Richard Williams stating in the (now defunct) "Melody Maker" that he felt like he would still be playing this album in ten years time. I have been regularly listening to this album on LP and/or CD for more than 36 years now and, not only has it retained its original freshness, but it has never stopped growing on me. To this day, it definitely stands as one of my all-time favourite albums. \n\nDespite very good reviews, the album was, unfortunately, a commercial failure. Its best US showing was # 181 on the charts (May 1970) whilst the inferior (though IMO rather good) Mama's And The Papa's last studio album ("People Like Us") still managed to reach the # 84 slot one year later. This was hardly an isolated case. Look i.e. to Gene Clark's output after leaving the Byrds! He would only chart solo once in his lifetime with the beautiful, innovative "No Other" LP, which reached # 144 in late 1974, whilst the rather mediocre "The Byrds" reunion LP (on Asylum) made the top 20 in 1973 (with Clark's contributions almost the only points of real interest on it.) \n\nI think that once people grow accustomed to a style that pleases them, they would rather have more of the same. Besides, John Phillips - as an artist - was far less well known than were the Mama's And The Papa's. \n\nThe new CD adds eight new-to-CD tracks to the original album. Most of them are slow and do not feature backing vocals. The already converted will not want to miss them. I will give a short appreciation of each new track: \n\n11. Shady - very good melody; slow, country styled, finished track; James Burton and Larry Knechtel shine on dobro and piano, respectively. \n12. Lonely Children - another pleasant, finished track; very laid back vocals from John. \n13. Lady Genevieve - a monaural, demo version of a very nice tune that would be later reworked for "The Mama's and The Papa's" final studio LP ("People Like Us"); this stripped down version features John Phillips' vocal backed by acoustic finger picked guitar. \n14. Black Girl - an (almost?) finished take of Leadbelly's "In The Pines" featuring steel guitar; a strange choice, IMO, even if John Phillips had already covered the tune, in 1961, with the Journeymen; nothing embarrassing but very average still. A bit of trivia here: the aforementioned Gene Clark also recorded a cover of this song on his 1977 "Two Sides to Every Story" LP. \n15. French Man - this one is also average by John Phillips' standards. \n16. 16mm Baby - a monaural, unfinished attempt at taping a song written by Matthew Reich, Michelle Phillips' first husband; vocals (and laughing!) backed by basic guitar strumming; a finished take might have proved interesting though. \n17. Wolfking of L.A. - instrumental backing track featuring piano, electric guitar, bass and drums; pretty boring actually; it is my guess that this "tune" has nothing to do whatsoever with the album's title. \n18. Mississippi - a different, shorter version of the tune that appeared on the original mono single version of the tune; it reached # 32 on the US pop single charts (a bit strange as, at that time, most singles by major artists were released in stereo). \n\nFor this Varese Sarabande reissue, brand new analogue-to-digital transfers are used whilst engineer supreme Dan Hersch (of Rhino fame) expertly handles the remastering. The original Dunhill/Warlock LP release was already state-of-the-art but the sound of this CD is truly outstanding. The rhythm section, in particular, has superb clarity and definition; it is also sounds more forward in the mix than on the LP. \n\nDo not let this gem of an album pass you by. \n\n\nAMAZON.COM CUSTOMER REVIEW (2006 Remastered + Expanded)\nPHENOMENAL WORK OF ART, September 15, 2006\nReviewer: Paul A. Amato (hollywood, CA, USA)\nI am thrilled this CD has been reissued. Sound quality is much superior to the original Edsel CD release. I wore out my Dunhill/Warlok vinyl, so was nice to see Varese Sarabande re-release this collection with 7 previously unreleased tracks. I have been playing non-stop for approximately 30 hours now. Thanks Varese Sarabande. I doubt there is much profit in this for your company, but this gift is greatly appreciated. I also appreciate your past releases of the Denny Dohery "Waiting For A Song" and "Magic Circle..Before they were the Mamas and the Papas" CD. \n\n\nAMAZON.COM CUSTOMER REVIEW\nBrilliant wreckage, March 30, 2005\nReviewer: George Kaplan\nI first heard the song Mississippi over WNEW-AM in 1970 and immediately bought the LP. I of course knew of the Mamas and Papas but never was a big fan. But this record brought me up short. Simple songs, simply played with a nice touch of country. I learned later of John's personal situation and have always thought that some of that came through the grooves. There is a feeling of dissipation and lassitude that is palpable to the listener. Almost as if nothing good was about to happen to its creator and he knows it.\n\n\nHalf.com Details \nProducer: Lou Adler \n\nAlbum Notes\nPersonnel: John Phillips (vocals, guitar, harmonica); James Burton\n(guitar, dobro); David Cohen, Dr. Hord (guitar); Buddy Emmons, Red Rhodes (steel guitar); Gordon Terry (fiddle); Larry Knechtel (keyboards); Joe Osborn (bass); Hall Blaine (drums); Darlene Love, Jean King, Fanita James (background vocals).\n\nRecorded in Los Angeles, California in 1970.\n\nIf there's any justice to be had, the 2006 reissue of John Phillips's solo debut, which adds eight previously unreleased tracks, will alert the world to the presence of this overlooked folk-rock gem. Originally released in 1969 in the wake of the demise of the Mamas and the Papas, JOHN, THE WOLFKING OF L.A. contains songs that rank alongside the finest Phillips penned for that group. A dream team of session musicians, including Sun Studios' guitarist James Burton and members of Phil Spector's Wrecking Crew, give the album its assured, sunbaked country feel, but it is the strength of Phillips's remarkable songwriting that makes this a treasure.\n\nIndustry Reviews\n3 Stars - Good - ...really quite good, lightly melodic country rock...\nQ (02/01/1993)\n\nIncluded in Mojo's The 67 Lost Albums You Must Own! - [T]ales of spilt wine, drug pick-ups and shipwrecks in a wash of country-soul harmony.\nMojo (03/01/2004)\n\n\nROLLING STONE REVIEW\nOnce upon a time, in a magic city called Los Angeles, there lived a Supergroup known as the Mamas and the Papas. Of course, nobody called them a Supergroup, because in those days, before there was Alvin Lee or even Jimi Hendrix, that word hadn't been invented yet.\n\nAlthough the Mamas and the Papas were rich and famous and lived in big houses near the magic city called Los Angeles, they were not happy. They fought among themselves, and threw things, and screamed, and yelled, and hurt each other's feelings, until finally they all went away, locked the doors to their big houses, and sulked.\n\nAnd they never made any more beautiful record albums.\n\nOh, sure, every now and then one or two of them would come out of their houses and go down to the beach and sing, all by themselves, but it was never the same, and it didn't sound as good, and it never would, ever again.\n\nThis is what you're expecting, right?\n\nWrong!!\n\nThe John Phillips album is a masterpiece. And we can all put away our Golden Era albums, and stop reciting Kaddish for the Mamas and the Papas, because the old familiar feeling is back with us. No, not the sound, but what was behind the sound, the incredible songwriting of John Phillips. In this album, backed by the same old gang of L.A, studio musicians, and assisted on vocals by an amazing chick trio (featuring, for all Phil Spector fans, none other than Darlene Love), Phillips has come to terms with himself, his own talents, his own mythology, and the result--well, I think it compares favorably with Nashville Skyline.\n\nGo ahead, raise your eyebrows. The facts remain -- there isn't a boring or repetitious cut on this album--nothing is forced, exaggerated or indifferent, and it is original, unselfconsciously, and helplessly original, original without gimmickry, gadgetry, or goofery.\n\nThe songs are (like Nashville Skyline) mostly about love and other related problems; but where the Dylan album presented us with an archetypical set of situations, from which we could pick and choose, and substantiate with our own meanings as they applied, John Phillips' songs have their own prefabricated reality. "April Anne," for example, is rather like Peggy Day, except that this time she sounds like someone you know. In "Topanga," and throughout the first side, for that matter, the entire idea of introspective and personal song-writing, which certainly has been all kinds of popular lately, is taken one step further. Phillips is not breaking his head trying to write universal songs--fortunately, he doesn't have that kind of image to live up to--yet what we're getting, diffused through his word patterns and syruped over by Buddy Emmons' pedal steel, is a set of personal experiences and reactions that we (with little cries of joy and amazement, natch) just happen to recognize.\n\nThe same thing, it seems, is going on in the music. Opening off side two, in "Captain," he comes up with a third cousin to the 12-bar blues form, throws in some fine shouting in the middle, and finally adds a country fiddle, bumbling and scratching around the edges of the song. In "Mississippi," which has been released as a single (and I might add, this is the first time in years that I've sat huddled by the radio, enduring hours of bubble-gunk, in the hopes, in the hopes ...) he comes out with an informal, exuberant, intense performance that, along with the happily insane lyrics, emerges as my favorite Little Groovemaker.\n\nWithout the big voices and the fancy arrangements, without the elaborate chord changes, without all the musical trappings that characterized his former days (but with Lou Adler) Phillips comes across fresh and sweet, like that one delicious Delicious in a barrel full of otherwise disappointing apples. Sure, he still sings in three-syllable "yeahhhhs" -- why not? -- he invented them. And the twist and feint of the lyrics couldn't be unfamiliar. But that's all in a different perspective now. This album, John Phillips, has zilch to do with that departed Supergroup from the magic city called you-know-what. This is John Phillips' album, and you get the impression that that's how he wants it.\n\nIn that case one can only admire his judgment. It's a brilliant album. (RS 63 - Jul 23, 1970) -- SYLVIA A. WEISER
This rock cd contains 10 tracks and runs 33min 52sec.
Freedb: 7507ee0a
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