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DISCID=760a2e0a
DTITLE=Kevin Rowland and Dexys Midnight Runners / Too-Rye-Ay (West Ger
DTITLE=man ''Atomic'' Pressing)
DYEAR=1982
DGENRE=Rock
TTITLE0=The Celtic Soul Brothers (More, Please, Thank You)
TTITLE1=Let's Make This Precious
TTITLE2=All In All (This One Last Wild Waltz)
TTITLE3=Jackie Wilson Said (I'm In Heaven When You Smile)
TTITLE4=Old
TTITLE5=Plan B
TTITLE6=I'll Show You
TTITLE7=Liars A To E
TTITLE8=Until I Believe In My Soul
TTITLE9=Come On Eileen
EXTD=Too-Rye-Ay (West German ''Atomic'' Pressing)\n1986 Mercury Record
EXTD=s, Inc.\n\nOriginally Released August 1982\nCD Edition Released ?
EXTD=?\nRemastered + Expanded CD Edition Released March 25, 1996, Febr
EXTD=uary 5, 2002 \n\nAMG EXPERT REVIEW: For one brief moment, Dexy's 
EXTD=exploded into America's consciousness -- and what a song to do it
EXTD= with! "Come on Eileen" combines ramalama rock & roll, soul deliv
EXTD=ery, and Celtic/country flavor into a perfect musical fusion and 
EXTD=an irresistible U.K. and U.S. number one hit. Both the song and i
EXTD=ts video were such hits that years later, ska/punk band Save Ferr
EXTD=is made a minor splash with its own version of the tune, while Ga
EXTD=rth Brooks appeared in a Saturday Night Live skit dressed as the 
EXTD=capering, bedraggled Rowland. The rest of the album is nearly as 
EXTD=successful, with quite a few numbers that should have matched "Co
EXTD=me on Eileen"'s fame. Given that song's obvious debt to Van Morri
EXTD=son's similar fusions, it's no surprise that Dexy's tipped their 
EXTD=hat with a great cover of Morrison's "Jackie Wilson Said," anothe
EXTD=r big British single. Throughout the album, Rowland's distinct, u
EXTD=nique voice takes the fore, but the revamped Dexy's lineup proves
EXTD= it was the original version's equal, if not better. Given that o
EXTD=nly trombonist Big Jimmy Patterson remained, and even then only f
EXTD=or two tracks, recruiting a new band able to create the "Celtic s
EXTD=oul" Rowland dreamed about turned out to be exactly the right mov
EXTD=e. Excellently produced by Rowland and the legendary Clive Langer
EXTD=/Alan Winstanley production team, Too-Rye-Ay sounds like an old s
EXTD=oul revue recorded on stage, no doubt an intentional goal. Other 
EXTD=highlights include the opening jaunt "The Celtic Soul Brothers," 
EXTD=which just about says it all both in title and delivery; the slow
EXTD= swirl of "All in All"; and the vicious ballad "Liars A to E." 19
EXTD=96's reissue is recommended, with eight extra tracks, including s
EXTD=ome fantastic live cuts like a seven-minute "Come on Eileen," and
EXTD= an appreciative and thorough essay.  -- Ned Raggett\n\n\nAMAZON.
EXTD=COM CUSTOMER REVIEW\nLet's Make This Precious, April 15, 2007 \nB
EXTD=y  Thomas Karl Emnauel "Music Fan & a Half" (Deadwood, SD USA)\nI
EXTD=f you know Dexy's Midnight Runners, it's probably from their 1982
EXTD= smash "Come On Eileen". And why not? It's brilliant, a perfectly
EXTD= incandescent gem of a song simply bursting at the seams with new
EXTD= wave rock n' roll energy, Celtic conviviality, and blue-eyed sou
EXTD=l fervour. That pretty much describes the album from which that o
EXTD=ne-hit-wonder was drawn, TOO-RYE-AY. \n\nWhat is the most identif
EXTD=iable element of Dexy's Midnight Runners' sound? Is it the Stax-l
EXTD=ike horns that bolster these cuts with their taut R&B charts? Is 
EXTD=it the Irish gypsy fiddle of Steve Brennan and Helen O'Hara? How 
EXTD=about Billy Adams' sprightly banjo? Their bedraggled, dungareed s
EXTD=treet image is certainly distinctive as hell. Or it could very po
EXTD=ssibly be bandleader and songwriter Kevin Rowland's off-kilter vo
EXTD=cals that sound like the common ground between Ric Ocasek, Joe St
EXTD=rummer, and Van Morrison (wherever that may be). \n\nSpeaking of 
EXTD=Van Morrison, Dexy's fusion of rock, soul, and Irish folk certain
EXTD=ly owes much to the Man's work - they cover his "Jackie Wilson Sa
EXTD=id" on TOO-RYE-AY as a matter of fact. But especially toward the 
EXTD=end of the album as the songs start to get longer and blend into 
EXTD=one another, that same indefinable, searching quality emerges in 
EXTD=Rowland's songwriting as he emulates Van's incantory talk-singing
EXTD=. This is especially evident in the album's shortest ("I'll Show 
EXTD=You") and longest ("Until I Believe in My Soul") songs, the latte
EXTD=r of which is probably the best song on the album this side of "C
EXTD=ome On Eileen". Combined with the prominent fiddle alongside the 
EXTD=R&B elements TOO-RYE-AY actually reminds me of Morrison's INTO TH
EXTD=E MUSIC, and that's compliment, since INTO THE MUSIC happens to b
EXTD=e one of my favourite albums ever. But that's not to say that Dex
EXTD=y's Midnight Runners are derivative. They have a sound all their 
EXTD=own, and make no mistake - you'd never mistake a song like "The C
EXTD=eltic Soul Brothers" or "Plan B" for anything but Dexy's. \n\nEvi
EXTD=dently, Dexy's Midnight Runners only have two other albums: SEARC
EXTD=HING FOR THE YOUNG SOUL REBELS and DON'T STAND ME DOWN. And if th
EXTD=ey're anywhere near as good as TOO-RYE-AY (and everything I've he
EXTD=ard, in terms of reviews and listening both, has been indicative 
EXTD=of the affirmative) I'll be going after them in the not-too-dista
EXTD=nt future. \n\n\nAMAZON.COM CUSTOMER REVIEW\nFunky celtic-soul fr
EXTD=om Ireland, October 29, 1998 \nReviewer: A music fan\n\n"Too-Rye-
EXTD=Ay" was bandleader/songwriter Kevin Rowlands finest moment in a b
EXTD=rief, underappreciated career. His blending of celtic melodies, s
EXTD=oul rhythms and pop music manifests itself best in the 1982 hit "
EXTD=Come On Eileen". Though no other track on this disc matches the e
EXTD=nergy or catchiness of this 80's classic, heartfelt love songs li
EXTD=ke "Let's Make it Precious" make this more than a one-song album.
EXTD= Covers of Van Morrison's "Jackie Wilson Said" and Aretha Frankli
EXTD=n's "Respect" also add soul and a sense of joy to the sessions. A
EXTD= look back at a familiar hit will uncover new and unfamiliar soun
EXTD=ds for the first time listener. \n\n\nHalf.com Album Notes\nDexy'
EXTD=s Midnight Runners include: Kevin Rowland (vocals); Billy Adams (
EXTD=guitar, banjo); Paul Speare (flute, whistle, saxophone); Micky Bi
EXTD=llingham (accordion, piano, organ); Brian Maurice (saxophone); Bi
EXTD=g Jim Patterson (trombone); Giorgio Kilkenny (bass); Seb Shelton 
EXTD=(drums).\n\nAdditional personnel includes: Helen O'Hara, Steve Br
EXTD=ennan (fiddle); The Sisters Of Scarlett (background vocals).\n\nP
EXTD=roducers: Clive Langer, Alan Winstanley, Kevin Rowland.\n\nReissu
EXTD=e producers: Tim Chacksfield, Bill Levenson.\nIncludes liner note
EXTD=s by Ted Kessler.\nAll tracks have been digitally remastered.\n\n
EXTD=Thought of as one-hit wonders in the US for "Come on Eileen," Dex
EXTD=y's Midnight Runners were already stars in Europe (especially the
EXTD=ir homeland, Britain) before that 1982 single topped charts world
EXTD=wide. Their influential 1980 debut, SEARCHING FOR THE YOUNG SOUL 
EXTD=REBELS, was an uncommonly heartfelt blend of punk and soul sensib
EXTD=ilities. However, disagreement over musical direction led to the 
EXTD=departure of much of the band, leaving only vocalist Kevin Rowlan
EXTD=d and trombonist Big Jim Paterson. The duo carried on with new re
EXTD=cruits, and the result was TOO-RYE-AY, an album that infuses the 
EXTD=group's prior sound with Celtic elements, creating a working-clas
EXTD=s vibe made explicit by the ensemble's Depression-era street-urch
EXTD=in clothes.\n\nMusically, the record shows an obvious maturation,
EXTD= with songs that demonstrate less concern with urgency and anger 
EXTD=than romance and nostalgia. "Come on Eileen," a joyous evocation 
EXTD=of adolescent lust, became the band's signature song, but the oth
EXTD=er riches here are plentiful. The rollicking opener, "The Celtic 
EXTD=Soul Brothers," is essentially an explanation of their new image,
EXTD= while "Let's Make This Precious" could be seen as a statement of
EXTD= purpose. They even pump considerable fire into Van Morrison's eb
EXTD=ullient "Jackie Wilson Said." This strong, career-defining album 
EXTD=would remain one of the key statements in 1980s pop music.\n\nInd
EXTD=ustry Reviews\n7 out of 10 - ...An attractive raggle-taggle, dung
EXTD=areed take on urban soul...\nNME (09/16/2000)\n\nBloody Essential
EXTD= - ...That a man so brave should have channelled such raw humanit
EXTD=y into [one of] the greatest soul albums ever made is something f
EXTD=or which we should all feel privileged....the kind of band that c
EXTD=ould sigificantly change your life...\nMelody Maker (04/06/1996)\n
EXTD=\n4 stars out of 5 - ...An inspired set of blue-eyed soul celebra
EXTD=tionals, topped by Rowland's yodelling, hyper-passionate vocals. 
EXTD=Fabulous stuff...\nQ (11/01/2000)\n\nRanked #4 in NME's Top 5 Rei
EXTD=ssues Of The Year.\nNME (12/30/2000)\n\n\nROLLING STONE REVIEW\nA
EXTD=rmed with a folio of hearty Stax/Volt-style tunes and enough pret
EXTD=ensions to poetic spirituality to sink a shipful of Solomon Burke
EXTD=s, singer-writer Kevin Rowland took Dexys Midnight Runners on a d
EXTD=esperate hunt for a mythic tribe of bold new British youth on 198
EXTD=0's Searching for the Young Soul Rebels. That same anthemic breas
EXTD=t-beating and soapbox arrogance also scuttle the band's second al
EXTD=bum, Too-Rye-Ay, an otherwise ambitious fusion of folky Irish jig
EXTD=s and Sixties Memphis soul blasts.\n\nThis time, it's not Rowland
EXTD='s lack of sincerity that rings hollow; rather, it's the self-imp
EXTD=ortant swagger of his lyrics and imperial ranting in his voice. "
EXTD=First let's hear somebody sing me a record/That cries pure and tr
EXTD=ue/No not those guitars, they're too noisy and crude," he bawls i
EXTD=n the brassy "Let's Make This Precious." As a singer, Rowland sti
EXTD=ll mistakes knee-bending histrionics for real conviction. The can
EXTD=ny integration of wheezing barroom accordion and the sunny sawing
EXTD= of Celtic fiddles with honky horns suggests there may indeed be 
EXTD=a connection between traditional Irish music and American R&B. Th
EXTD=at connection was first explored by Van Morrison, whose "Jackie W
EXTD=ilson Said (I'm in Heaven When You Smile)" is covered here. And t
EXTD=he recent British hit "Come On Eileen," a spirited, unpretentious
EXTD= romp in the hay with a shy lass, brings the LP to an exuberant p
EXTD=op climax with Rowland's pleading chorus and the jaunty pluck of 
EXTD=a banjo. But the rude smugness and narcissistic flaunting of song
EXTD=s like "The Celtic Soul Brothers" ("I've seen what's on show and 
EXTD=now there's no more to know...So step aside, now your time's up")
EXTD= show Rowland is still too busy studying himself in the mirror to
EXTD= find the young soul rebels right under his nose. (RS 389 -- Feb 
EXTD=17, 1983)  -- DAVID FRICKE
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