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DISCID=7507ee0a
DTITLE=John Phillips / John, The Wolf King Of L.A.
DYEAR=1970
DGENRE=Rock
TTITLE0=April Anne
TTITLE1=Topanga Canyon
TTITLE2=Malibu People
TTITLE3=Someone's Sleeping
TTITLE4=Drum
TTITLE5=Captain
TTITLE6=Let It Bleed, Genevieve
TTITLE7=Down The Beach
TTITLE8=Mississipi
TTITLE9=Holland Tunnel
EXTD=John, The Wolf King Of L.A.\n\nOriginally Released 1970\nEdsel CD
EXTD= Edition Released February 1992\nRemastered + Expanded Varese Sar
EXTD=abande CD Edition Released September 12, 2006 \n\nAMG EXPERT REVI
EXTD=EW: The first solo album of the architect of the Mamas & Papas so
EXTD=und, John Phillips, was certainly one of the more heralded events
EXTD= at the dawn of the 1970s. Phillips, the primary songwriter and v
EXTD=ocal arranger for all of the group's great records, however, was 
EXTD=not exactly a great lead vocalist. Phillips knew this, and, accor
EXTD=ding to his book Papa John, he purposely buried his voice in the 
EXTD=mix. This proved to be a bit of tragedy, because underneath it al
EXTD=l, this is an excellent album. Songs such as "April Anne," "Malib
EXTD=u People," and "Holland Tunnel" bear out what a fine songwriter h
EXTD=e really was -- they are indeed some of the finest songs of his c
EXTD=areer. The performances on this record are spectacular. Backed by
EXTD= an all star group of musicians (most of Elvis Presley's band, in
EXTD=cluding James Burton, as well as The Wrecking Crew among others),
EXTD= the record's decidedly country feel is crafted to the extreme. M
EXTD=amas co-founder Denny Doherty has always felt that had the Mamas 
EXTD=& Papas recorded this album, it would have been one of their fine
EXTD=st. There's no doubt.  -- Matthew Greenwald \n\n\nAmazon.com Prod
EXTD=uct Description\n1970 debut solo album from the late founder of t
EXTD=he Mama's & the Papa's. Backed by the cream of session musicians 
EXTD=(Phil Spector's Wrecking Crew) & Elvis Presley guitarist James Bu
EXTD=rton. Currently out of print in the USA. \n\n\nAMAZON.COM CUSTOME
EXTD=R REVIEW (2006 Remastered + Expanded)\nIt's not really a surprise
EXTD=, February 13, 2007\nReviewer: Elliot Knapp (Walla Walla, Washing
EXTD=ton United States)\nNo, it's not a surprise that John the Wolfkin
EXTD=g of L.A. is a great record--John Phillips was the pen behind the
EXTD= Mamas and the Papas, transforming the emotional turmoil of the g
EXTD=roup's inner drama into some of the most classic and catchy pop m
EXTD=usic made in the late 60's as their primary songwriter and vocal 
EXTD=arranger. Although he wasn't thought of as the group's best singe
EXTD=r (and unfortunately didn't highlight his vocals on this record a
EXTD=s much as he could), I think Phillips has a very soothing and emo
EXTD=tive voice--of course he didn't compare to the technical prowess 
EXTD=of Denny and Cass, but they were doing something different--more 
EXTD=of a slick pop sound that was more about straight-up aesthetics. 
EXTD=This record is pure personality. \n\nThe opener is pure magic--Ph
EXTD=illips sings over Elvis Presley's backing band (a tight rhythm se
EXTD=ction and some great pedal steel texture) about "April Ann," a ta
EXTD=le full of colorful and melancholy characters, quoting several po
EXTD=pular film titles along the way. Although Phillips reportedly bur
EXTD=ied his own voice in the mix, I don't think it's really that hard
EXTD= to hear, and a pleasure to hear at that! After the first track, 
EXTD=the album just keeps up the quality. The second song is another m
EXTD=elancholy slow-burner, with great lyrics and some great stoner im
EXTD=agery. \n\nOverall, Phillips' record is laid-back good times musi
EXTD=c--I guess you'd call it country-rock (because of the pedal steel
EXTD=), but really it doesn't fit too neatly into any genre--it's just
EXTD= well-written, mellow, catchy rock and roll, and after a couple l
EXTD=istens you won't really care how it's categorized--you'll just wa
EXTD=nt to keep listening. John the Wolfking is definitely a vacation 
EXTD=and beach album--several of the songs reference the ocean and the
EXTD= beach ("Malibu People" and "Down the Beach") as well as referenc
EXTD=ing broad ranging locales, like Tangiers and Mississippi. \n\nPhi
EXTD=llips sure knows how to set a mood, and the infectiously mellow g
EXTD=roove permeates his best solo record. I think the song that might
EXTD= sum it up best is "Mississippi," a listless (just like the river
EXTD=) thumper, with some feel-good vibes and some sly lines. John the
EXTD= Wolfking of L.A. puts on no pretense, and it comes off great as 
EXTD=a result. It's too bad Phillips never achieved much solo success,
EXTD= since he would have produced quite a bit of great music continui
EXTD=ng in the same vein. I highly recommend this album to fans of cou
EXTD=ntry/folk rock, as well to adventurous fans of the Mamas and Papa
EXTD=s (it's not terribly similar though). I should also add that the 
EXTD=album has several bonus tracks that are only slightly less strong
EXTD= than the original album, which should be listened to as its own 
EXTD=discrete unit, separate from the bonus tracks. Hope you enjoy!\n\n
EXTD=\nAMAZON.COM CUSTOMER REVIEW (2006 Remastered + Expanded)\nLong o
EXTD=verdue!, January 9, 2007\nReviewer: Robert Westfall (Avon, New Yo
EXTD=rk United States)\nThis is an album I have been trying to buy for
EXTD= several years on cd but the only versions available have been a 
EXTD=Japanese cd and an equally hard to find British version on Edsel.
EXTD=These always seemed to sell for upwards of $100.00. \nI read in t
EXTD=he now defunct ICE magazine that "Wolfking" was being reissued in
EXTD= the states at last by Varese but almost 18 months went by with n
EXTD=o further word, nor did it appear on their website. \nWell, it's 
EXTD=here at last and well worth the wait. This was John's best post M
EXTD=ama's and Papa's work. The songs are all top notch and John's per
EXTD=formances are great. The band consists of the cream of LA's sessi
EXTD=on players, many of who had also worked with the M&P's and Johnny
EXTD= Rivers among many others. \nThe 8 bonus tracks include works in 
EXTD=progress,leftover sessions and the single version of the lp's onl
EXTD=y hit, "Mississippi". My recomendation is to grab it while you ca
EXTD=n. It could be equally rare as the previous reissues soon.\n\n\nA
EXTD=MAZON.COM CUSTOMER REVIEW (2006 Remastered + Expanded)\nNever lik
EXTD=ed the Mamas and Papas but this is great, October 27, 2006\nRevie
EXTD=wer: James R. Parrett "jimp1005" (toronto, canada)\nOne of my fav
EXTD=orite all-time albums, this new reissue sounds great, if a tad di
EXTD=fferent than the vinyl. I don't much care for digital, but this b
EXTD=aby has presence and feel. Nice job. As for the music - every son
EXTD=g is classic melodic pop/rock with superb instrumentation. I love
EXTD= the fact John's voice is buried somewhat in the sound. It provid
EXTD=es an homogeneous feel that causes me to turn up the volume and s
EXTD=urround myself with memorable music. The original collection of s
EXTD=ongs are quality, only diminished slightly by the new bonus track
EXTD=s. Like another reviewer stated, this album will last a long, lon
EXTD=g time. It's a prime candidate for the Repeat button. A no-braine
EXTD=r.\n\n\nAMAZON.COM CUSTOMER REVIEW (2006 Remastered + Expanded)\n
EXTD=A superfine John Phillips' music box, October 18, 2006\nReviewer:
EXTD= jayhikkss "Dr Simon to you"\nThe great, late John Phillips will 
EXTD=forever be associated with "The Mama's And The Papa's" with whom 
EXTD=he enjoyed terrific critical and commercial success, writing or c
EXTD=o-writing 11 of the group's top 100 singles (5 others hits were c
EXTD=overs). \n\nAfter the group's split (due to internal frictions an
EXTD=d a changing musical climate), John Phillips recorded this splend
EXTD=id solo album using his regular ace studio cats (augmented by ste
EXTD=el guitarists Buddy Emmons and Orville "Red" Rhodes, along with E
EXTD=lvis Presley's guitarist James Burton.) The inclusion of the latt
EXTD=er musicians certainly explains, in part, the country tinge appar
EXTD=ent in the arrangements. The sound proves much more laid-back tha
EXTD=n the one previously associated with his former group. John Phill
EXTD=ips composed every track on the original album and handled the le
EXTD=ad vocals; vocal backgrounds came courtesy of the Blossoms, a sup
EXTD=erlative trio of back-up female singers, including the underestim
EXTD=ated Darlene Love). \nThe "big voices" from Cass and Denny were g
EXTD=one, but John Phillips was endowed with a very pleasant, smooth v
EXTD=oice that had more of a singer-songwriter feel to it. I often thi
EXTD=nk that it's too bad that John was so unsure of his lead vocals t
EXTD=hat he kind of buried them in the mix whilst I think that they sh
EXTD=ould have been brought up quite a bit more forward. \nJohn Philli
EXTD=ps' compositions on his first LP are excellent with supremely tun
EXTD=eful, finely crafted songs. The man is really at the top of his g
EXTD=ame here. The very good lyrics convey more sentiments of melancho
EXTD=ly and world-weariness, as well as a darker edge, than those prev
EXTD=iously heard on the Mama's And The Papa's recordings. References 
EXTD=to relationships old and new abound, either romantic or not. In t
EXTD=he sometimes-cryptic lyrics, one gets the feeling that John was w
EXTD=riting a lot about a coterie of LA friends and foes. \n\nAt the t
EXTD=ime of release, I recall reviewer Richard Williams stating in the
EXTD= (now defunct) "Melody Maker" that he felt like he would still be
EXTD= playing this album in ten years time. I have been regularly list
EXTD=ening to this album on LP and/or CD for more than 36 years now an
EXTD=d, not only has it retained its original freshness, but it has ne
EXTD=ver stopped growing on me. To this day, it definitely stands as o
EXTD=ne of my all-time favourite albums. \n\nDespite very good reviews
EXTD=, the album was, unfortunately, a commercial failure. Its best US
EXTD= showing was # 181 on the charts (May 1970) whilst the inferior (
EXTD=though IMO rather good) Mama's And The Papa's last studio album (
EXTD="People Like Us") still managed to reach the # 84 slot one year l
EXTD=ater. This was hardly an isolated case. Look i.e. to Gene Clark's
EXTD= output after leaving the Byrds! He would only chart solo once in
EXTD= his lifetime with the beautiful, innovative "No Other" LP, which
EXTD= reached # 144 in late 1974, whilst the rather mediocre "The Byrd
EXTD=s" reunion LP (on Asylum) made the top 20 in 1973 (with Clark's c
EXTD=ontributions almost the only points of real interest on it.) \n\n
EXTD=I think that once people grow accustomed to a style that pleases 
EXTD=them, they would rather have more of the same. Besides, John Phil
EXTD=lips - as an artist - was far less well known than were the Mama'
EXTD=s And The Papa's. \n\nThe new CD adds eight new-to-CD tracks to t
EXTD=he original album. Most of them are slow and do not feature backi
EXTD=ng vocals. The already converted will not want to miss them. I wi
EXTD=ll give a short appreciation of each new track: \n\n11. Shady - v
EXTD=ery good melody; slow, country styled, finished track; James Burt
EXTD=on and Larry Knechtel shine on dobro and piano, respectively. \n1
EXTD=2. Lonely Children - another pleasant, finished track; very laid 
EXTD=back vocals from John. \n13. Lady Genevieve - a monaural, demo ve
EXTD=rsion of a very nice tune that would be later reworked for "The M
EXTD=ama's and The Papa's" final studio LP ("People Like Us"); this st
EXTD=ripped down version features John Phillips' vocal backed by acous
EXTD=tic finger picked guitar. \n14. Black Girl - an (almost?) finishe
EXTD=d take of Leadbelly's "In The Pines" featuring steel guitar; a st
EXTD=range choice, IMO, even if John Phillips had already covered the 
EXTD=tune, in 1961, with the Journeymen; nothing embarrassing but very
EXTD= average still. A bit of trivia here: the aforementioned Gene Cla
EXTD=rk also recorded a cover of this song on his 1977 "Two Sides to E
EXTD=very Story" LP. \n15. French Man - this one is also average by Jo
EXTD=hn Phillips' standards. \n16. 16mm Baby - a monaural, unfinished 
EXTD=attempt at taping a song written by Matthew Reich, Michelle Phill
EXTD=ips' first husband; vocals (and laughing!) backed by basic guitar
EXTD= strumming; a finished take might have proved interesting though.
EXTD= \n17. Wolfking of L.A. - instrumental backing track featuring pi
EXTD=ano, electric guitar, bass and drums; pretty boring actually; it 
EXTD=is my guess that this "tune" has nothing to do whatsoever with th
EXTD=e album's title. \n18. Mississippi - a different, shorter version
EXTD= of the tune that appeared on the original mono single version of
EXTD= the tune; it reached # 32 on the US pop single charts (a bit str
EXTD=ange as, at that time, most singles by major artists were release
EXTD=d in stereo). \n\nFor this Varese Sarabande reissue, brand new an
EXTD=alogue-to-digital transfers are used whilst engineer supreme Dan 
EXTD=Hersch (of Rhino fame) expertly handles the remastering. The orig
EXTD=inal Dunhill/Warlock LP release was already state-of-the-art but 
EXTD=the sound of this CD is truly outstanding. The rhythm section, in
EXTD= particular, has superb clarity and definition; it is also sounds
EXTD= more forward in the mix than on the LP. \n\nDo not let this gem 
EXTD=of an album pass you by. \n\n\nAMAZON.COM CUSTOMER REVIEW (2006 R
EXTD=emastered + Expanded)\nPHENOMENAL WORK OF ART, September 15, 2006
EXTD=\nReviewer: Paul A. Amato (hollywood, CA, USA)\nI am thrilled thi
EXTD=s CD has been reissued. Sound quality is much superior to the ori
EXTD=ginal Edsel CD release. I wore out my Dunhill/Warlok vinyl, so wa
EXTD=s nice to see Varese Sarabande re-release this collection with 7 
EXTD=previously unreleased tracks. I have been playing non-stop for ap
EXTD=proximately 30 hours now. Thanks Varese Sarabande. I doubt there 
EXTD=is much profit in this for your company, but this gift is greatly
EXTD= appreciated. I also appreciate your past releases of the Denny D
EXTD=ohery "Waiting For A Song" and "Magic Circle..Before they were th
EXTD=e Mamas and the Papas" CD. \n\n\nAMAZON.COM CUSTOMER REVIEW\nBril
EXTD=liant wreckage, March 30, 2005\nReviewer: George Kaplan\nI first 
EXTD=heard the song Mississippi over WNEW-AM in 1970 and immediately b
EXTD=ought the LP. I of course knew of the Mamas and Papas but never w
EXTD=as a big fan. But this record brought me up short. Simple songs, 
EXTD=simply played with a nice touch of country. I learned later of Jo
EXTD=hn's personal situation and have always thought that some of that
EXTD= came through the grooves. There is a feeling of dissipation and 
EXTD=lassitude that is palpable to the listener. Almost as if nothing 
EXTD=good was about to happen to its creator and he knows it.\n\n\nHal
EXTD=f.com Details \nProducer: Lou Adler \n\nAlbum Notes\nPersonnel: J
EXTD=ohn Phillips (vocals, guitar, harmonica); James Burton\n(guitar, 
EXTD=dobro); David Cohen, Dr. Hord (guitar); Buddy Emmons, Red Rhodes 
EXTD=(steel guitar); Gordon Terry (fiddle); Larry Knechtel (keyboards)
EXTD=; Joe Osborn (bass); Hall Blaine (drums); Darlene Love, Jean King
EXTD=, Fanita James (background vocals).\n\nRecorded in Los Angeles, C
EXTD=alifornia in 1970.\n\nIf there's any justice to be had, the 2006 
EXTD=reissue of John Phillips's solo debut, which adds eight previousl
EXTD=y unreleased tracks, will alert the world to the presence of this
EXTD= overlooked folk-rock gem. Originally released in 1969 in the wak
EXTD=e of the demise of the Mamas and the Papas, JOHN, THE WOLFKING OF
EXTD= L.A. contains songs that rank alongside the finest Phillips penn
EXTD=ed for that group. A dream team of session musicians, including S
EXTD=un Studios' guitarist James Burton and members of Phil Spector's 
EXTD=Wrecking Crew, give the album its assured, sunbaked country feel,
EXTD= but it is the strength of Phillips's remarkable songwriting that
EXTD= makes this a treasure.\n\nIndustry Reviews\n3 Stars - Good - ...
EXTD=really quite good, lightly melodic country rock...\nQ (02/01/1993
EXTD=)\n\nIncluded in Mojo's The 67 Lost Albums You Must Own! - [T]ale
EXTD=s of spilt wine, drug pick-ups and shipwrecks in a wash of countr
EXTD=y-soul harmony.\nMojo (03/01/2004)\n\n\nROLLING STONE REVIEW\nOnc
EXTD=e upon a time, in a magic city called Los Angeles, there lived a 
EXTD=Supergroup known as the Mamas and the Papas. Of course, nobody ca
EXTD=lled them a Supergroup, because in those days, before there was A
EXTD=lvin Lee or even Jimi Hendrix, that word hadn't been invented yet
EXTD=.\n\nAlthough the Mamas and the Papas were rich and famous and li
EXTD=ved in big houses near the magic city called Los Angeles, they we
EXTD=re not happy. They fought among themselves, and threw things, and
EXTD= screamed, and yelled, and hurt each other's feelings, until fina
EXTD=lly they all went away, locked the doors to their big houses, and
EXTD= sulked.\n\nAnd they never made any more beautiful record albums.
EXTD=\n\nOh, sure, every now and then one or two of them would come ou
EXTD=t of their houses and go down to the beach and sing, all by thems
EXTD=elves, but it was never the same, and it didn't sound as good, an
EXTD=d it never would, ever again.\n\nThis is what you're expecting, r
EXTD=ight?\n\nWrong!!\n\nThe John Phillips album is a masterpiece. And
EXTD= we can all put away our Golden Era albums, and stop reciting Kad
EXTD=dish for the Mamas and the Papas, because the old familiar feelin
EXTD=g is back with us. No, not the sound, but what was behind the sou
EXTD=nd, the incredible songwriting of John Phillips. In this album, b
EXTD=acked by the same old gang of L.A, studio musicians, and assisted
EXTD= on vocals by an amazing chick trio (featuring, for all Phil Spec
EXTD=tor fans, none other than Darlene Love), Phillips has come to ter
EXTD=ms with himself, his own talents, his own mythology, and the resu
EXTD=lt--well, I think it compares favorably with Nashville Skyline.\n
EXTD=\nGo ahead, raise your eyebrows. The facts remain -- there isn't 
EXTD=a boring or repetitious cut on this album--nothing is forced, exa
EXTD=ggerated or indifferent, and it is original, unselfconsciously, a
EXTD=nd helplessly original, original without gimmickry, gadgetry, or 
EXTD=goofery.\n\nThe songs are (like Nashville Skyline) mostly about l
EXTD=ove and other related problems; but where the Dylan album present
EXTD=ed us with an archetypical set of situations, from which we could
EXTD= pick and choose, and substantiate with our own meanings as they 
EXTD=applied, John Phillips' songs have their own prefabricated realit
EXTD=y. "April Anne," for example, is rather like Peggy Day, except th
EXTD=at this time she sounds like someone you know. In "Topanga," and 
EXTD=throughout the first side, for that matter, the entire idea of in
EXTD=trospective and personal song-writing, which certainly has been a
EXTD=ll kinds of popular lately, is taken one step further. Phillips i
EXTD=s not breaking his head trying to write universal songs--fortunat
EXTD=ely, he doesn't have that kind of image to live up to--yet what w
EXTD=e're getting, diffused through his word patterns and syruped over
EXTD= by Buddy Emmons' pedal steel, is a set of personal experiences a
EXTD=nd reactions that we (with little cries of joy and amazement, nat
EXTD=ch) just happen to recognize.\n\nThe same thing, it seems, is goi
EXTD=ng on in the music. Opening off side two, in "Captain," he comes 
EXTD=up with a third cousin to the 12-bar blues form, throws in some f
EXTD=ine shouting in the middle, and finally adds a country fiddle, bu
EXTD=mbling and scratching around the edges of the song. In "Mississip
EXTD=pi," which has been released as a single (and I might add, this i
EXTD=s the first time in years that I've sat huddled by the radio, end
EXTD=uring hours of bubble-gunk, in the hopes, in the hopes ...) he co
EXTD=mes out with an informal, exuberant, intense performance that, al
EXTD=ong with the happily insane lyrics, emerges as my favorite Little
EXTD= Groovemaker.\n\nWithout the big voices and the fancy arrangement
EXTD=s, without the elaborate chord changes, without all the musical t
EXTD=rappings that characterized his former days (but with Lou Adler) 
EXTD=Phillips comes across fresh and sweet, like that one delicious De
EXTD=licious in a barrel full of otherwise disappointing apples. Sure,
EXTD= he still sings in three-syllable "yeahhhhs" -- why not? -- he in
EXTD=vented them. And the twist and feint of the lyrics couldn't be un
EXTD=familiar. But that's all in a different perspective now. This alb
EXTD=um, John Phillips, has zilch to do with that departed Supergroup 
EXTD=from the magic city called you-know-what. This is John Phillips' 
EXTD=album, and you get the impression that that's how he wants it.\n\n
EXTD=In that case one can only admire his judgment. It's a brilliant a
EXTD=lbum. (RS 63 - Jul 23, 1970)  -- SYLVIA A. WEISER
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