EUGENE McDANIELS Outlaw LP ATLANTIC 1971 UK orig 2465 022 GENE McDANIELS
€
35
$
41
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Description
THIS IS THE UK ORIGINAL PRESSING on ATLANTIC "Red/Plum" label. UNLAMINATED SINGLE COVER. The cover is in VG(+) condition, normal wear BUT discolouration/wear on spines/corners, mild creases on edges/corners, surface ringwear, small tear on front (top right corner), clear tape on front (top left corner) and rear (top right corner), left spine is readable; on LABELS both sides "STEREO" with dymo; for details see photos (with and without flashlight). The vinyl is in VG(+) condition (some clicks/crackles) and plays great and without lessening in sound quality.
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EUGENE McDANIELS
the left rev. mc d
with MOTHER HEN, RON CARTER, RAY LUCAS, HUGH McCRACKEN, ERIC WEISSBERG, BUCK CLARKE
Talented soul/R&B vocalist who went on to become an important songwriter and producer.
Gene McDaniels was a multifaceted artist who was best known as a pop/R&B vocalist in the early to mid-'60s, just as R&B was beginning to evolve into soul. He scored polished and passionate hits that showed off his strong, clear voice including "A Hundred Pounds of Clay," "Tower of Strength," and "Chip Chip."
Following the assassination of Dr. Martin Luther King, Jr. in 1968, McDaniels departed the United States. For the next three years, he lived in Denmark and Sweden and spent his time writing. His songwriting was showing a sophistication that was a far cry from his lightweight Liberty material, especially "Compared to What," a literate and streetwise political broadside that was a hit for Les McCann & Eddie Harris, and "Feel Like Makin' Love," a sensuous soul groove that charted high for Roberta Flack, one of his favorite vocalists. When he returned to America in 1970, he signed with Atlantic Records and resumed recording under the name Eugene McDaniels. His first album for Atlantic, 1970's Outlaw, was an ambitious and politically charged effort that blended funk, jazz, and rock with his dramatic vocals. 1971's Headless Heroes of the Apocalypse was even stronger and more outspoken, and supposedly a copy made its way to the White House, where Richard Nixon was outraged by the radical politics of the lyrics and Spiro Agnew urged Atlantic to suppress the album."OUTLAW"
Produced by Joel Dorn
tracklisting
Side A: OUTLAW - SAGITTARIUS RED - WELFARE CITY
SILENT MAJORITY - LOVE LETTER TO AMERICA
Side B: UNSPOKEN DREAMS OF LIGHT - CHERRYSTONES - REVEREND LEE - BLACK BOY
1971 LP ATLANTIC RECORDS 2465 022 STEREO
MADE IN ENGLAND ORIGINAL PRESSING
UNLAMINATED SINGLE SLEEVE
Barcode and Other Identifiers
Barcode: none
LABEL: ATLANTIC - RED/PLUM LABEL - BLACK TEXT
Catalog on cover: 2465 022
Catalog on labels: 2465022
Matrix / Runout (Side A, Stamped): 2465022 A∇111 3
Matrix / Runout (Side B, Stamped): 2465022 B∇111 1
On labels: top rim text "All Rights......Made in Gt. Britain.....Prohibited"
℗1970 Under licence from Atlantic Recording Corpn., U.S.A.
MCPS
On Back Sleeve: Tracklist + Credits + Notes
With special thanks to Les McCann
Under Licence from Atlantic Recording Corp., U.S.A.
THE ATLANTIC RECORD CLUB is the official Atlantic Appreciation Society........London, W.1.
Manufactured by POLYDOR RECORDS LTD., LONDON
Printed and made by The E. J. Day Group, London & Bedford
grading
RECORD VG(+) but (please, read above description)
SLEEVE VG(+) but (please, see pictures and read above description)
On the opening title track, a loose country-rock number about liberated women, McDaniels sounds remarkably like Mick Jagger (an interesting creative choice since McDaniels would record "Jagger the Dagger," an unflattering appraisal of the Rolling Stones' frontman, on his next album, 1971's Headless Heroes of the Apocalypse). Even when McDaniels' vocals more closely resemble his early hits, his music is radically different. Outlaw is a set of songs that exist in a place bordered by jazz, rock, and funk, and McDaniels' phrasing is expressive and adventurous in a way it had never been before. Most importantly, as a songwriter McDaniels had eagerly embraced the counterculture and the issues of the day, and Outlaw is full of smart, pointed lyrics that speak of race, class, and cultural division in a style that's articulate and just a bit theatrical, as if this were the original cast album to an off-Broadway revue about the turbulence of the early '70s. The musicians (who include Ron Carter, Hugh McCracken, and Ray Lucas) bring an unflashy virtuosity to their performances, and Joel Dorn's production is suitably clean and unobtrusive, giving the music a welcome sense of focus. At a time when African-American consciousness was exploding in new and provocative directions in popular music, Outlaw shows Eugene McDaniels was at the vanguard of this revolution, even if the album didn't find an audience until it became a cult item decades after the fact...(AllMusic)
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