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DISCID=7d08770a
DTITLE=The Doobie Brothers / Toulouse Street
DYEAR=1972
DGENRE=Rock
TTITLE0=Listen To The Music
TTITLE1=Rockin' Down The Highway
TTITLE2=Mamaloi
TTITLE3=Toulouse Street
TTITLE4=Cotton Mouth
TTITLE5=Don't Start Me To Talkin'
TTITLE6=Jesus Is Just Alright
TTITLE7=White Sun
TTITLE8=Disciple
TTITLE9=Snake Man
EXTD=Toulouse Street (Rhino Replicas Edition)\n2006 Warner Bros./Rhino
EXTD=\n\nOriginally Released July 1972\nCD Edition Released 1987 ??\nR
EXTD=hino Replicas Mini LP CD Edition Released December 26, 2006\n\nAM
EXTD=G EXPERT REVIEW: This was the album by which most of their fans b
EXTD=egan discovering the Doobie Brothers, and it has retained a lot o
EXTD=f its freshness over the decades. Producer Ted Templeman was attu
EXTD=ned to the slightly heavier and more Southern style the band want
EXTD=ed to work toward on this, their second album, and the results we
EXTD=re not only profitable -- including a platinum record award -- bu
EXTD=t artistically impeccable. Toulouse Street is actually pretty clo
EXTD=se in style and sound at various points to what the Eagles were d
EXTD=oing during the same period, except that the Doobies threw jazz a
EXTD=nd R&B into the mix, as well as country, folk, and bluegrass elem
EXTD=ents, and (surprise!) ended up just about as ubiquitous as the Ea
EXTD=gles in peoples' record collections, especially in the wake of th
EXTD=e singles "Listen to the Music" and "Jesus Is Just Alright." But 
EXTD=those two singles represented only the tip of the iceberg in term
EXTD=s of what this group had to offer, as purchasers of the album dis
EXTD=covered even on the singles -- both songs appear here in distinct
EXTD=ly longer versions, with more exposition and development, and in 
EXTD=keeping with the ambitions that album cuts (even of popular numbe
EXTD=rs) were supposed to display in those days. Actually, "Listen to 
EXTD=the Music" (written by Tom Johnston) offers subtle use of phasing
EXTD= and other studio tricks that make its seemingly earthy, laid-bac
EXTD=k approach some of the most complex and contrived of the period. 
EXTD=Johnston's "Rockin' Down the Highway" shows the band working at a
EXTD= higher wattage and moving into Creedence Clearwater Revival terr
EXTD=itory, while "Mamaloi" was Patrick Simmons' laid-back Caribbean i
EXTD=dyll, and the title tune (also by Simmons) is a hauntingly beauti
EXTD=ful ballad. The band then switches gears into swamp rock for "Cot
EXTD=ton Mouth" and takes a left turn into the Mississippi Delta for a
EXTD= version of Sonny Boy Williamson II's "Don't Start Me Talkin'" be
EXTD=fore shifting into a gospel mode with "Jesus Is Just Alright." Jo
EXTD=hnston's nearly seven-minute "Disciple" was the sort of soaring, 
EXTD=bluesy hard rock workout that led to the group's comparison to th
EXTD=e Allman Brothers Band, though their interlocking vocals were nea
EXTD=rly as prominent as their crunching, surging double lead guitars 
EXTD=and paired drummers. And it all still sounds astonishingly bracin
EXTD=g decades later; it's still a keeper, and one of the most invitin
EXTD=g and alluring albums of its era.  -- Bruce Eder\n\nAMAZON.COM CU
EXTD=STOMER REVIEW\nTheir second album is a charm, March 3, 2006\nRevi
EXTD=ewer: Disciple (FL)\nI "stole" this album in 1972 from my sister 
EXTD=and I was hooked forever on The Doobie Brothers. After a very dis
EXTD=appointing start with their self titled first album "The Doobie B
EXTD=rothers", "Toulouse Street" launched them into stardom. Rock radi
EXTD=o and oldie station's playlists include 'Listen To The Music', 'R
EXTD=ockin'Down The Highway' and 'Jesus Is Just Alright' but there is 
EXTD=much more to this album than just those three songs. A must own f
EXTD=or newbies or long time fans. Just listen to the music!! \n\n\nAM
EXTD=AZON.COM CUSTOMER REVIEW\nThe First Of 2Consecutive Masterpieces.
EXTD=, August 27, 2002\nReviewer: WILLIE A YOUNG II "willow" (Houston,
EXTD= TX.)\nWith the addition of bassist Tiran Porter, the Doobies rev
EXTD=ealed a newer, fuller sound on this, their second LP. Even 30 yea
EXTD=rs later "Toulouse Street" has lost none of it's original charm a
EXTD=nd the transition to CD has served the music well. Tom Johnston, 
EXTD=Pat Simmons and Co. wrote and recorded a batch of catchy, brillia
EXTD=ntly performed songs that were instantly tighter and more memorab
EXTD=le than their debut, this is the sound of an actual BAND. The mus
EXTD=ical chemistry here is astonishing and for fans who only know the
EXTD= band for it's hits "Listen To The Music", "Rockin' Down The High
EXTD=way" etc., the gentler, laid back vibe of the acoustic, folk-ting
EXTD=ed numbers here will surprise many listeners. The title cut and "
EXTD=Snakeman" are of special note. This was a well deserved hit and s
EXTD=till sounds remarkably fresh 3 decades later. This, along with 19
EXTD=73's "The Captain And Me" are two masterful albums that assure th
EXTD=is band's place in music history.\n\n\nAMAZON.COM CUSTOMER REVIEW
EXTD=\nHit The Streets, April 16, 2002\nReviewer: Thomas Magnum (NJ, U
EXTD=SA)\nToulouse Street finds the Doobie Brothers expanding from a q
EXTD=uartet to a quintet by adding bassist Tiran Porter. After their s
EXTD=elf-titled debut disappeared off the charts without a trace, the 
EXTD=band became alot more pop conscious with their second album. The 
EXTD=album's first track, "Listen To The Music" is pure AM Gold. Insta
EXTD=ntly hummable, with a memorable opening guitar riff, the song cli
EXTD=mbed to number 11 on the charts and started an impressive run for
EXTD= the band in the 70's. The second track, "Rockin' Down The Highwa
EXTD=y" has a harder edge, but it too is extremely catchy. The album's
EXTD= other big track was their cover of "Jesus Is Just Alright" which
EXTD= is one of their strongest tracks. Besides the big hits, the albu
EXTD=m offers up some other interesting and strong songs. "Mamaloi" ha
EXTD=s a reggae vibe and "Cottonmouth" is more in line with the blues 
EXTD=based sounds of their first release. The title track is a beautif
EXTD=ul, folksy song and the album's closer, "Snake Man" is an especia
EXTD=lly strong track. The album's original gatefold sleeve is infamou
EXTD=s for the inside photo shows the band cuddled up to naked women w
EXTD=ho are intended to represent the ladies of the night from the str
EXTD=eet the album's title is inspired by.\n\n\nAMAZON.COM CUSTOMER RE
EXTD=VIEW\nArguably the best Doobie Bros Album, June 9, 2001\nReviewer
EXTD=: David W. Darby (Davenport, IA United States)\nToulouse Street w
EXTD=as The Doobies' break-through album, the first being the eponymou
EXTD=sly named, and fairly bluesy 'black album', which for a time was 
EXTD=given away with the purchase of shoes from Kinneys! If you want a
EXTD= good taste of what the Doobies had to offer beyond the singles y
EXTD=ou already know about, this is an excellant album to start with. 
EXTD=The first of (I believe) 4 albums featuring Bill Payne of Little 
EXTD=Feat, the album has the best variety of musical styles of any cla
EXTD=ssic Doobies album, from blues - Don't Start Me to Talkin' to reg
EXTD=gae - Mamaloi (love that one!) to rock, not to mention the haunti
EXTD=ng title track, this one is hard to top. I'm gonna stick my neck 
EXTD=out and say that this one is the best of the classic Tom Johnston
EXTD= line-up - yes, IMHO, better than the Captain and Me. But do pick
EXTD= up The Captain, Vices, and Stampede as well - they are all great
EXTD=. Trust me.\n\n\nAMAZON.COM CUSTOMER REVIEW\nA Dry Run for CAPTAI
EXTD=N & ME and WHAT WERE ONCE VICES, March 15, 2001\nReviewer: Gavin 
EXTD=Wilson\nIn the early stages of their career, the Doobies improved
EXTD= significantly with each album. They improved as musicians, as so
EXTD=ngwriters and as arrangers. Even the production quality improved.
EXTD= So TOULOUSE STREET is a better album than their eponymous '71 de
EXTD=but, and in turn THE CAPTAIN & ME is a better album than TOULOUSE
EXTD= STREET. With THE CAPTAIN & MEs, the Doobies hit a sustained peak
EXTD= which lasted until at least '78's MINUTE BY MINUTE.\nBut there a
EXTD=re some great tracks on this album, particularly 'Listen to the M
EXTD=usic' and 'Jesus is Just All Right'. 'Listen to the Music' didn't
EXTD= chart in the UK until the Doobies arrived on British soil in the
EXTD= autumn of '73, by which time THE CAPTAIN & ME had been released.
EXTD= (Many confused record-buyers bought THE CAPTAIN expecting to fin
EXTD=d that classic single on it.) \n\nBut there is much to love about
EXTD= this CD, in particular the trademark Doobie harmonies, dual-drum
EXTD=mer sound and intertwined guitars. The drums and acoustic guitars
EXTD= come out particularly well in Lee Herschberg's skillful remaster
EXTD=ing, though Tom Johnston's voice still sounds several feet away f
EXTD=rom the mike at times. 'Toulouse Street' is particularly loved by
EXTD= those who bought it on its release, because it was so different 
EXTD=from the rest of the West Coast music -- it sounded tighter than 
EXTD=Jefferson Airplane or David Crosby, and you really didn't need to
EXTD= take any drugs to appreicate it to the full. The only problem wi
EXTD=th this album for new fans working their way back through the Doo
EXTD=bies' catalogue is that, as I said, the band got better with each
EXTD= release.\n\n\nAMAZON.COM CUSTOMER REVIEW\nI Doobie-lieve it's a 
EXTD=Gem!, March 20, 2000\nReviewer: David Ray (New York, NY)\nToulous
EXTD=e Street was the "breakout" Doobie Brothers album which spawned s
EXTD=uch rock classics as "Listen to the Music," "Jesus Is Just Alrigh
EXTD=t" and "Rockin' Down the Highway." But the hidden gems are the mo
EXTD=re acoustic numbers---"Snake Man," "Cottonmouth" and the title so
EXTD=ng "Toulouse Street," which compares favorably to Simon and Garfu
EXTD=nkel's "Scarborough Fair" in its clarity and beauty. \nThe wonder
EXTD= of it, is that the songs remain vital even now, 28 years since t
EXTD=he album's initial release in 1972. Without a single "B" cut, it'
EXTD=s a "must have" in any pop music collection.\n\nLike the song say
EXTD=s, "Listen to the music..."\n\n\nHalf.com Details \nProducer: Ted
EXTD= Templeman \n\nAlbum Notes\nThe Doobie Brothers: Pat Simmons, Tom
EXTD= Johnston (vocals, guitar); Tiran Porter (vocals, bass instrument
EXTD=); John Hartman (drums, percussion); Michael Hossack (drums).\nAd
EXTD=ditional personnel: Dave Shogren (vocals, guitar, bass instrument
EXTD=); Bill Payne (piano, organ).\n\nRecording information: Warner Br
EXTD=others Studios, Hollywood, CA; Wally Heider Studio, San Francisco
EXTD=, California.\n\nThe Doobie Brothers shuffled personnel a bit aft
EXTD=er their debut album, changing bass players and adding a second d
EXTD=rummer. For whatever reason, this sophomore effort was the one th
EXTD=at kicked off their long streak as one of the most popular bands 
EXTD=in America. The basic sound of TOULOUSE STREET isn't really all t
EXTD=hat different from the Doobies' previous effort. There's a simila
EXTD=r mix of acoustic guitars, gospel harmonies, and overall post-hip
EXTD=pie mellowness.\nThis time out, however, the songs have hooks as 
EXTD=well as grooves. TOULOUSE STREET produced the chugging and eminen
EXTD=tly infectious "Listen to the Music," the Doobies' breakthrough h
EXTD=it single. Other highpoints include the anthemic "Rockin' Down th
EXTD=e Highway," which quickly became a radio staple; a considerably j
EXTD=uiced-up version of the Byrds' "Jesus is Just Alright;" the lovel
EXTD=y, CSNY-inspired title song; and a nice cover--with horns--of Son
EXTD=ny Boy Williamson's blues classic "Don't Start Me Talkin'." Produ
EXTD=cer Ted Templeman gave the band a cleaner, harder-edged sound, an
EXTD=d helped bring the band's unique mix of roots rock, gospel, count
EXTD=ry, jazz, bluegrass, R&B, swamp boogie, and pop hooks into perfec
EXTD=t focus.\n\n\nROLLING STONE REVIEW\nWith their second album the D
EXTD=oobie Brothers have made the big jump into the majors. If there w
EXTD=ere such a thing as futures in Doobie Bros. T-shirts, I would rus
EXTD=h out and pick up a coupla gross. This band is playing up there i
EXTD=n the same league as, say, the Allman Brothers. Unlike the origin
EXTD=al membership of the latter fraternal organization, the Doobies a
EXTD=re brothers in name and spirit only. Like the Allmans, they emit 
EXTD=mellow yet rocking melodies featuring lacy guitar playing and a c
EXTD=ontagious back beat--you can't lose it. Theirs is a delicately te
EXTD=xtured sound, even at its most raucous, resting on the tensile in
EXTD=terplay of acoustic and electric instruments as well as some flaw
EXTD=lessly woven vocal harmonies.\n\nThe emergence into the front ran
EXTD=ks of the euphoniously titled Doobies should come as no surprise 
EXTD=to anyone who has heard their first album, released early last ye
EXTD=ar. One side consisted of variations on a theme, five exploration
EXTD=s of the possibilities of acoustical boogie music using the same 
EXTD=instrumentation with similar motifs and lyrical imagery. Though t
EXTD=heir attempts fell short of brilliance, lead guitarist Tom Johnst
EXTD=on and rhythm guitarist Pat Simmons were provided with a framewor
EXTD=k in which to display the flowing symmetry of their blues-tinged 
EXTD=runs. The albums' second side delved into electric music with une
EXTD=ven though intriguing results.\n\nThe unoriginal hype that they w
EXTD=ere a Hell's Angels band (does anyone really care?) and the under
EXTD=whelming response of the critics gave the Doobies a reprieve from
EXTD= the publicity spotlight and time to continue their growth as an 
EXTD=extremely danceable dance band in the San Jose area. They replace
EXTD=d their original bassist (the parting seems to have been amicable
EXTD=, since he plays on two cuts of the new record) and added a secon
EXTD=d drummer to augment their sound with still another element of sy
EXTD=mmetry.\n\nThe Doobies open with an invitation to "Listen to the 
EXTD=Music." No RSVP is necessary, as can be attested to by the song's
EXTD= popularity on the singles charts. "Listen to the Music" indicate
EXTD=s how far the Doobies have come since their first recorded effort
EXTD=. They used the same opening riff then on a song titled "Feelin' 
EXTD=Down Farther," an uninspired rocker full of their standard refere
EXTD=nces to new days abornin' and feelings changing day by day. On "L
EXTD=isten to the Music" they've transferred the riff from muddy elect
EXTD=ric guitar to crystalline acoustic and, though they still persist
EXTD= in singing an opening line about "growing day by day," they've a
EXTD=dded a level to their lyrics by relating their universe of rising
EXTD= suns and new days to the soothing powers of the music. They thro
EXTD=w in a dash of intelligently used phase distortion (not heard sin
EXTD=ce the early days of psychedelia) to act as a bridge into a verse
EXTD= celebrating the brave new whirl of audible contentment and add a
EXTD=n extra sonic dimension as well.\n\nIf 1972 has brought little el
EXTD=se to Rock, it has revived the travellin' song and, as a corollar
EXTD=y, tunes about specific destinations or locales. A partial list w
EXTD=ould have to include John Lennon's "New York City," Paul Simon's 
EXTD="Paranoia Blues" and Elton John's "Mona Lisas and Mad Hatters" (b
EXTD=oth also about New York), the Kinks' "Celluloid Heroes" and Neil 
EXTD=Young's "Heart of Gold" (a pair centered around Hollywood), also 
EXTD=Young's "Alabama" and Steve Stills' "Colorado." And who can forge
EXTD=t the Eagles' "Take It Easy" with its passing yet immortal mentio
EXTD=n of Tucson, Arizona? The Doobies add three fine songs to the gen
EXTD=re with their piano-driven "Rockin' Down the Highway," the reggae
EXTD=-propelled "Mamaloi" ("got to get back to Jamaica") and the title
EXTD= track "Toulouse Street" about bad times in New Orleans, featurin
EXTD=g some harmonies reminiscent of Paul Stookey and Peter Yarrow dur
EXTD=ing PP&M's prime.\n\nThe Doobies end the first side of the album 
EXTD=with a lush R&B rendition of Seals and Crofts' "Cotton Mouth." Ag
EXTD=ain faithful to the dialectic, the Brothers round out the other s
EXTD=ide with a desperado blues called "Snake Man." Between those two 
EXTD=poles, they show off their virtuosity with a tight version of Son
EXTD=ny Boy Williamson's "Don't Start Me to Talkin'," a dynamically ex
EXTD=panded "Jesus is Just Alright," "White Sun," an example of the ac
EXTD=oustic style they employed on their debut album, and "Disciple," 
EXTD=a long cut which gives the band a chance to work out, loosing on 
EXTD=an unsuspecting world Johnston and Simmons' fleet flying fingers.
EXTD=\n\nIn a medium where words lose their value as fast as Nixon dol
EXTD=lars, it's hard to convey what's good about the Doobies without r
EXTD=esorting to exaggeration. Applying the ultimate criteria of wheth
EXTD=er a record is worth three, four or five hard-earned bills out of
EXTD= your pocket, this is one of the year's dozen albums that pass th
EXTD=e test without reservation. With credentials like that, there's n
EXTD=o need to exaggerate. (RS 119 -- Oct 12, 1972)  -- STEVE DITLEA
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