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Toulouse Street
Toulouse Street in Bloomington, MN
Current price: $24.99
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Size: Blu-ray
Toulouse Street
was the album by which most of their fans began discovering
the Doobie Brothers
, and it has retained a lot of its freshness over the decades. Producer
Ted Templeman
was attuned to the slightly heavier and more Southern style the band wanted to work toward on this, their second album, and the results were not only profitable -- including a platinum record award -- but artistically impeccable.
is actually pretty close in style and sound at various points to what
the Eagles
were doing during the same period, except that
the Doobies
threw
jazz
and
R&B
into the mix, as well as
country
,
folk
, and
bluegrass
elements, and (surprise!) ended up just about as ubiquitous as
in peoples' record collections, especially in the wake of the singles
"Listen to the Music"
"Jesus Is Just Alright."
But those two singles represented only the tip of the iceberg in terms of what this group had to offer, as purchasers of the album discovered even on the singles -- both songs appear here in distinctly longer versions, with more exposition and development, and in keeping with the ambitions that album cuts (even of popular numbers) were supposed to display in those days. Actually,
(written by
Tom Johnston
) offers subtle use of phasing and other studio tricks that make its seemingly earthy, laid-back approach some of the most complex and contrived of the period.
Johnston
's
"Rockin' Down the Highway"
shows the band working at a higher wattage and moving into
Creedence Clearwater Revival
territory, while
"Mamaloi"
was
Patrick Simmons
' laid-back Caribbean idyll, and the title tune (also by
Simmons
) is a hauntingly beautiful
ballad
. The band then switches gears into
swamp rock
for
"Cotton Mouth"
and takes a left turn into the Mississippi Delta for a version of
Sonny Boy Williamson II
"Don't Start Me Talkin'"
before shifting into a
gospel
mode with
's nearly seven-minute
"Disciple"
was the sort of soaring, bluesy
hard rock
workout that led to the group's comparison to
the Allman Brothers Band
, though their interlocking vocals were nearly as prominent as their crunching, surging double lead guitars and paired drummers. And it all still sounds astonishingly bracing decades later; it's still a keeper, and one of the most inviting and alluring albums of its era. ~ Bruce Eder
was the album by which most of their fans began discovering
the Doobie Brothers
, and it has retained a lot of its freshness over the decades. Producer
Ted Templeman
was attuned to the slightly heavier and more Southern style the band wanted to work toward on this, their second album, and the results were not only profitable -- including a platinum record award -- but artistically impeccable.
is actually pretty close in style and sound at various points to what
the Eagles
were doing during the same period, except that
the Doobies
threw
jazz
and
R&B
into the mix, as well as
country
,
folk
, and
bluegrass
elements, and (surprise!) ended up just about as ubiquitous as
in peoples' record collections, especially in the wake of the singles
"Listen to the Music"
"Jesus Is Just Alright."
But those two singles represented only the tip of the iceberg in terms of what this group had to offer, as purchasers of the album discovered even on the singles -- both songs appear here in distinctly longer versions, with more exposition and development, and in keeping with the ambitions that album cuts (even of popular numbers) were supposed to display in those days. Actually,
(written by
Tom Johnston
) offers subtle use of phasing and other studio tricks that make its seemingly earthy, laid-back approach some of the most complex and contrived of the period.
Johnston
's
"Rockin' Down the Highway"
shows the band working at a higher wattage and moving into
Creedence Clearwater Revival
territory, while
"Mamaloi"
was
Patrick Simmons
' laid-back Caribbean idyll, and the title tune (also by
Simmons
) is a hauntingly beautiful
ballad
. The band then switches gears into
swamp rock
for
"Cotton Mouth"
and takes a left turn into the Mississippi Delta for a version of
Sonny Boy Williamson II
"Don't Start Me Talkin'"
before shifting into a
gospel
mode with
's nearly seven-minute
"Disciple"
was the sort of soaring, bluesy
hard rock
workout that led to the group's comparison to
the Allman Brothers Band
, though their interlocking vocals were nearly as prominent as their crunching, surging double lead guitars and paired drummers. And it all still sounds astonishingly bracing decades later; it's still a keeper, and one of the most inviting and alluring albums of its era. ~ Bruce Eder
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