The Outlaws ~ Lady In Waiting (1976) CD 2018 Floating World UK •• NEW ••

Description: The Outlaws Lady In Waiting AUDIO CD BRAND NEW FACTORY SEALED Floating World Records FLOATM6351 UPC | 0805772635128 1976, 2018 TRACK LISTING 01. Breaker - Breaker 02. South Carolina 03. Ain't So Bad 04. Freeborn Man 05. Girl From Ohio 06. Lover Boy 07. Just For You 08. Prisoner 09. Stick Around For Rock & Roll When the Allman Brothers Band broke out of the American South in the early seventies, wowing audiences with their innovative, lengthy improvisational themes, incorporating elements of the Blues, Jazz, Country and straight ahead rock and roll styles, they set not only a significant directorial pointer for the shape some of Rock music would take, but also a Geographical re-alignment (albeit temporarily) of focus away from the traditional centres of the American East and West Coasts to South of the Mason-Dixon line. Whilst its true that recording studios such as Muscle Shoals had already become a real focus for Southern Soul in the sixties (and, indeed. Brother Duane Allman had played on many of those recordings), to the mainstream white rock audience, the South had become synonymous with segregation and the Civil Rights movement. In reality, the South was a far more nuanced and shaded society than the frequently incendiary news headlines of that era would suggest, but the image of the Southern cracker in a Klan suit was hard to shake. In much the same way that London-based A&R staff high-tailed it to Liverpool to sign up their own Mersey Beat bands in the sixties, so, therefore, did major US labels of the seventies started looking South for the Next Big Thing. When the likes of Lynyrd Skynyrd started making waves with their 1973 debut album, the floodgates really opened. By the mid-70s, the Charlie Daniels Band name-checked the leading lights of the Southern Rock scene, including Grinderswitch, Marshall-Tucker Band, Elvin Bishop, ZZ Top, Barefoot Jerry, and Elvin Bishop in their single, The Souths Gonna Do It Again, and Southern Rockers of the time were proudly reclaiming the Confederate flag as a symbol for the Southern resurgence, seeking to cleanse the image of segregation and ingrained racism that the emblem once represented. These new Southern Rock bands proudly acknowledged the Blues and Black music influences in their music; indeed, the Allmans themselves were a multi-racial unit. There were many more bands such as the Atlanta Rhythm Section, Hydra, and Point Blank, amongst scores of others, who fell under the ‘Southern Rock’ banner, all with subtly different nuances and variations on rock themes; it was a creative time for those involved. The subject of this reissue, The Outlaws, formed in Tampa, Florida, in 1972, and were the first signing to the new Arista Records label, set up and helmed by the legendary music business A&R man, Clive Davis. It was he who shifted the Columbia / CBS / Epic label emphasis toward the burgeoning, album-orientated haul rock marketplace, away from the singles chart, in the late 1960s. Davis saw the Outlaws open for Lynyrd Skynyrd at a show in Columbia, South Carolina, in 1974; apparently, Skynyrd vocalist Ronnie Van Zant urged Davis to sign The Outlaws from the stage itself, saying “If you don’t sign The Outlaws, you’re the dumbest music business person I've ever met - and I know you’re not!" With an exhortation like that, it must’ve been kind of hard for Davis to ignore, and he promptly had them ink a deal for his new label. The debut album was released in July, 1975, and what was presented was something fresh and new in an already somewhat overcrowded Southern Rock musical landscape. In lead guitarists Hughie Thomasson and Billy Jones, they were blessed with two fine, articulate players, Thomasson favoring a Fender Stratocaster or Telecaster, noted for their wiry, cutting sound, his playing style melding fast country-flavoured picking and Blues runs. Jones, however, toted (mostly) a Gibson Les Paul, which, with its fatter-sounding humbucker pickups, added a nice tonal contrast to Thomasson. Furthermore, the band frequently utilized three and four part harmony vocals which added richness and depth to their sound, which were redolent perhaps of Country-Rock combos such as Poco, or reaching back a little further. The Byrds or Buffalo Springfield. On the subject of reaching back a little further, lets see how The Outlaws came together. Their roots stretch back to Tampa, Florida, in late 1967. Guitarist /vocalist Thomasson, together with drummer David Dix, bassist Phil Holmberg, guitarists Hobie O’Brien and Frank Guidry, and vocalist Herb Pino. Guidry had been in a band called Outlaws, and the band name came with his enlisting in the ranks. However, by early in 1968, both O’Brien and Holmberg quit - they were both going to get married, apparently. Frank O’Keefe came in as bass player, and vocalist Tommy Angarano replaced Pino. Angarano also brought with him his Hammond Organ skills, and a contrasting vocal approach. However, his tenure was somewhat short, with Pino being drafted back in. The band traveled up to New York to record an album, which was destined never to be released. Undaunted, the band then went into Criteria Studios in Miami, to record another album, with producer Paul Gernhard - however, the result was the same - no album was released, and Gernhard vanished, too! Another personnel change saw Ronny Elliott brought in on bass, with O’Keefe briefly switching to guitar, To add further confusion, Elliott left in 1969, and O’Keefe moved back into his old role. Pino also added guitar and drummer Monte Yoho who came in as a sub for Dix. The Outlaws manager at the time was one Paul D, and one of the other bands he looked after was the somewhat prosaically-named Dave Graham Group, and from that band came two new members, namely Billy Jones and Dave Graham, to avoid any further consternation, their personnel in early 1970 comprised Thomasson, O’Keefe, Dave Dix, Billy Jones and Dave Graham. Graham brought something of a country-rock influence to the line-up, and the band recorded a cover of The Doors’ Five to One for a label audition tape. However, this lineup was to split in Spring 1970, and the band parted company with their manager, too. By 1971, however, the Outlaws were reborn, with singer / guitarist Henry Paul, alongside Thomasson, O'Keefe, and Monte Yoho. Guitarist Billy Jones would, on occasions, turn up to jam with the band, giving the band a three-pronged guitar line-up, latterly dubbed The Florida Guitar Army. A momentum started to develop for the band, and die recruitment of managers Charlie Brusco (and, at Ronnie Van Zants recommendation), Alan Walden (his brother Phil ran the Capricorn Records label), and the support of Lynyrd Skynyrd, brought them to the attention of Clive Davis at Arista Records. The first Outlaws album, released in July, 1975, was a considerable chart success, peaking at number thirteen in the Billboard album charts. Such success demanded an encore, and this came in the form of Lady In Waiting, released in May, 1976, by contemporary standards a rapid follow-up to the debut. Produced, as had their debut album, by the seasoned sound man Paul Rothchild (The Doors, Janis Joplin, The Paul Butterfield Blues Band and The Everly Brothers, to name but a few on an awesome recording résumé) and comprising nine tracks, eight of which were band compositions, the one cover being the song Free Born Man, which was originally recorded by Keith Allison and Paul Revere & The Raiders, it follows a similar mix of styles and musical approach as the debut. The guitar work is exemplary, with the Jones / Thomasson / Paul triumvirate excelling throughout. Again, the band’s vocal harmony strength is much in evidence - no more so than on the Country-tinged Girl From Ohio. There are even Jazz-Pop flavorings to the likes of Prisoner, and the band managed to score a minor singles chart hit with Breaker - Breaker, a spry Country Rocker. The album closer, Stick Around For Rock & Roll - six minutes plus - finishes the album in suitably high-energy style. In 1976, The Outlaws were well on their way to establishing themselves as a reliable concert draw and purveyors of well-crafted, musically varied albums. In the promotion of Lady In Waiting, the band supported The Who on their US Who In Boots tour. Their third album, Hurry Sundown marked a trio of winning albums from a hard-working and likeable band. ~ Alan Robinson, January 2018 SHIPPING TO USA ONLY Buyer Pays Shipping $3.99 1st CD $3.99... each additional $1.50 CDs will only be combined with other CDs or DVDs To qualify for the combined discount, all items must be purchased together, paid for with 1 payment, and shipped all together in 1 shipment. Please use the add to cart feature, once you have ordered all your desired items, proceed to checkout to complete your order with the combined total.

Price: 12.76 USD

Location: Gold River, California

End Time: 2024-12-31T08:38:35.000Z

Shipping Cost: 3.99 USD

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The Outlaws ~ Lady In Waiting (1976) CD 2018 Floating World UK •• NEW ••

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Artist: The Outlaws, Outlaws, Frank O'Keefe ~ Bass Guitar, Monte Yoho ~ Drums, Henry Paul ~ Electric Guitar, Acoustic Guitar, Vocals, Joe Lala ~ Percussion, Billy Jones ~ Lead Guitar, Vocals, Hughie Thomasson ~ Lead Guitar, Vocals

CD Grading: Mint (M)

Record Label: Floating World, Retroworld

Release Title: Lady In Waiting

Case Type: Jewel Case: Standard

Case Condition: Mint (M)

MPN: 0805772635128

Inlay Condition: Mint (M)

Catalog Number: FLOATM6351

Edition: Remastered

Type: Album

Format: CD

Producer: Paul A. Rothchild